Transcripts from YouTube videos for chatbot current as of 10/4/24
How to activate your core to become a clear, comfortable & creative tango dancer. https://youtu.be/acMIeH8p_cA
hola friends please join us on the floor as we explore core activation exercise I like to do is simply an abdomen and your muscles will automatically activate to protect your core that's what we want and as we know everything is a range of possibilities so we can go from no activation just let it all hang out to stiff as a statue I'm showing my six pack activate every streams dancing but if we have some sense of activation it keeps our posture in our nice cylinder we don't have parts and pieces drifting outside which confuse our partner as to where our weight is so one of the things that you can think about when you are focusing on activating your core is a nice video diary and a picture and just check your cylinder check it from both sides do I have parts that are naturally leaking outside of the cylinder that can be forward outside of the cylinder and also be sideways so get in front of a mirror and just check check your cylinder and make sure that your natural stance isn't to let some of those things leak in inherently and if you find it's difficult to maintain that sense of tone in the core plank exercises just Google plank exercises you'll get a ton of information unfortunately the planks are hard so as dancers one of the main points that we can look for when we are checking to see if our core is activated that we like is within the forward Ocho so if you're working solo by all means grab a countertop grab the back of your Crouch grab something even a wall to stabilize and let's just work on the idea of the forward Ocho this moment right here as we are creating the Ocho if we have leaks in our cylinder if we don't maintain our core if you notice it's very difficult to even kind of maintain the balance during the Ocho and it also sends your body in weird directions so if you find that your ochos are oftentimes unbalanced or you have to put that foot down to catch yourself the activation of the core would be the first thing that we would be looking for would you leave me so I the range of possibilities just like Argen was talking about as he leads me into that first show here's a very relaxed kind of core so if you notice that it allows my body to kind of move in different directions and it allows everything is squishy and I'm what are you feeling I'm feeling energy all over the place it's not well organized I don't have a clear sense of where your body is organized exactly so let's take it all the way to the other range where are you going to activate every single muscle turn into that statue ready and that feels very clear and somewhat uncomfortable it's like dancing with a statue yes and all of the marble that a statue is made of it gets very heavy and it gets very difficult to move and we lose the fluidity of the dance when we focus so much on the opposite range of that Spectrum what we are looking for is a nice engaged core something that where I arrive on my Axis the core is engaged and my cylinder is moving together and what is it that you're feeling it feels relaxed and yet well organized I understand exactly what I'm feeling so ochos are close out your practice even at the next milonga or practica we challenge you to think about every single time you go into a forward Osho that's a great time to check in with your core activation and be aware this is for both Partners it's for every dancer we all need that kind of body organization and activation that gives us good energy that we can use to express the music that's going on and it gives us Clarity of where we are where I am and where my partner is on the floor and once you find yourself checking in consistently with your ochos and you go okay yes my core is engaged my core is engaged then change your trigger to something else you like to think about activating your core within the walk um and I like to act think of activating my core actually within the molinete little triggers that we see throughout the dance consistently that when you're practicing this every time you do that movement check check in with your core do I have it activated do I feel comfortable but supported throughout my cylinder core activation it's a key to good dancing Quick tip for using the opposite side in Argentine Tango https://youtu.be/_P71-Fq9Oes “So, if I'm leading a back ocho, there’s often a tendency to think, 'Oh, just send your partner back there.' But instead, I can pull my side away, which allows me to keep my partner—Tina—on her axis. When I feel a lot of energy coming from that hand side, which is on the outside of my axis, it can sometimes throw me off balance. By focusing on pulling my side away, I can maintain better control and balance, ensuring my partner stays aligned.” Rose, bud, thorn methodology applied to Argentine Tango https://youtu.be/jRm8xMDB9go Tina, the other day I was doing my mindfulness meditation using the Rose, Bud, and Thorn methodology, and it occurred to me that it would be great to apply to Tango. What is the Rose, Bud, and Thorn methodology? Well, the Rose represents something that's going well for us—something beautiful that we really enjoy and want to do more of. We want to capitalize on that skill and maybe enrich it or add features to it. The Bud is an emerging capability or something that we're interested in or curious about, something we want to learn more about to add to our skillset. And then the Thorn, as you might expect, is a sticking point—something that's not going the way we'd like. It's an area where we'd like to get some help or figure out how to improve. These concepts—the Rose, Bud, and Thorn—can be brought into our Tango practice. For example, we can take these ideas to a new instructor to help organize our lessons, or use them in our practice planning. Argen, that's a great idea! I think it's a wonderful example of how we like to incorporate outside methodologies and learning approaches into Tango dancing. If you're interested in more of these ideas, head on over to GameofTango.com and sign up for the 7-day free trial. We’ll see you on the dance floor!“ Power of the pause in Argentine Tango https://youtu.be/FlrBWqC5ba4 An interesting note from the world of snow skiing: the Vermont Ski Safety Association says the biggest cause of injuries comes from trying to recover from falls. When we're about to fall or our ski is slipping out, we often try to save it and stay upright. It's actually much better to simply fall, reset, get up, and go again. It seems like we could apply that to tango, right? Absolutely! That’s the point. There are times in tango when we just get out of sync with our partner. Tango is a challenging dance with all kinds of movements that test our stability and balance as we move around, through each other, and around other couples. So, when we feel things are disconnected, instead of trying to save it and reconnect on the fly, we can take a pause. Maybe even do some weight changes to make sure we’re both on the same foot. And then, very importantly, when we’re ready to start again, we can wind up with intention before heading out. During this pause, remember to stay calm through the core, maintain a little bit of tone in the frame, and make sure you’re clearly over your axis on one foot or the other. This helps your partner join you in that position, making it look like the moment was intentional. It’s almost like gathering your partner up—having a little tone in the frame communicates the reset, avoiding that scramble to recover. When we’re ready to move again, we should release the tone in the frame gently, signaling to our partner that we’re ready to continue. Another important reason for pausing is to match the music. After musical phrases, there may be dramatic pauses that we want to honor by stopping our movement. This shows we’re listening and connected to the music, as well as to our partner. If you want to explore more ways of connecting with the music and your partner, head over to GameofTango.com and sign up for the 7-day free trial. We can explore all these ideas together. Until then, abrazos! Unlocking the Secrets of Argentine Tango: How Everyday Objects Can Help Improve Your Partnering https://youtu.be/hIccP4PHh-I
If we want to continue walking forward, I need to keep my forward poise directed towards my partner. The mop can provide helpful feedback, indicating whether or not I’m maintaining that forward poise into my partner. Once again, when I want to come to a stop, notice how the mop sinks down like that? This gives me a clear signal: either I did it correctly because I intended to stop, or it indicates that I let my forward poise slack off a little. Argentine Tango in the Kitchen: Improving Your Skills with Solo Work https://youtu.be/2TYvnbjWGcE
The kitchen is actually a really wonderful place to practice because it seems like we’re always reaching for something, right? You reach up into a cabinet, reach down into another cabinet, or grab something out of the fridge. Now, challenge yourself. Instead of letting your core collapse when you bend down to pick something up off the floor, use it as an opportunity. An opportunity to practice your lunge. Instead of just walking straight up to something, add a twist and set it down with intention. How to practice dissociation in Argentine Tango at home https://youtu.be/WxxhEgLAqjM
Hola friends! Please join us as we explore dissociation. In Tango, dissociation refers to when the hips are facing in one direction while the torso faces another, typically to bring your center of focus toward your partner. A great way to practice dissociation throughout your day is by incorporating it into simple tasks. This can feel like a unique idea when we focus solely on it for dancing, but as Argen said, it’s actually quite natural. When we want to sharpen this skill for the purpose of dance, one way to do so is by using everyday activities—like putting something on a countertop. For example, when carrying a grocery bag, instead of walking straight up to the counter and setting it down, you can practice dissociation by rotating your torso to place the bag on the countertop while your hips face forward. This simulates the kind of movement we use in Tango and helps bring the dance into your daily life. I like that! Thanks! Cambio de frente for Argentine Tango https://youtu.be/jVMRdwMYS1Q Hola friends! Please join us as we explore the Cambio de Frente, or “change of front.” The idea is that we move together and then pass each other to change who is facing the line of dance, before reversing the movement. Leader's Footwork (Counter-clockwise): Please join me on the floor as we go through the footwork pattern for the leaders to create the Cambio de Frente. Don’t forget to pick up your practice embrace! We’re going to start off by rotating counterclockwise, and the pattern we’ll follow is: forward, side, back—then reverse: back, side, forward. Say it with me: forward, side, back; back, side, forward. Starting with our left foot, rotate to the counterclockwise position, taking your partner off the track as you step forward. Continue rotating for the side step, and then for the backward step. Now, reverse the pattern: step back, then side, then forward, taking yourself off the track again. Leader's Footwork (Clockwise): We can also do this rotation clockwise. Begin with your right foot. Start by rotating the upper body and guiding your partner off the track as you step forward, side, and back. Keep your “center light” rotating as you step back, side, and forward again. Demo with a Partner: In this movement, one person moves around, and then the other person follows. On the first step, I invite my partner to step off the track, giving me room to step onto it. Then, I bring my partner back onto the track as we continue. Important Tips: When you’re on the inside of the circle, your partner is trying to get around you, so be mindful of this geometry. Aid your partner by taking smaller steps when you're on the inside. Conversely, when you're on the outside of the circle trying to get around your partner, add more energy and “oomph” to your steps. You can also help guide this movement by focusing on your “center light.” Cruzada from the Walk in Argentine Tango: a step-by-step breakdown https://youtu.be/JmccQHwq9eY
Hola friends! Please join us as we explore walking to the cruzada (the cross). Follower's Footwork: I’m going to place myself with my back to the camera so you can follow along as you’re learning the follower’s footwork. Again, we recommend that everyone work on both sides of the role before putting it together in partnership. When your partner drifts outside, make sure to create dissociation through your upper body so you have a proper wind-up. Begin to unwind back to the line of dance, and as you complete the unwind, cross your legs nice and tight with your heel up. Push into the floor by flattening your front foot and releasing the back foot. Now, you’re ready to walk out of the cross. Leader's Footwork: For leaders, step out to the hand side, stepping alongside your partner with strong dissociation. Gradually begin to release the dissociation. Pause—don’t rush into the next step. Give your partner room and time to move into the cross. Most importantly, don’t rush out of this position. Your partner needs to shift their weight before taking the next step. So, provide a clear wind-up and intention as you step out. Demo with a Partner: We’re going to demonstrate now. Argen will start by walking in the line of dance, then drifting to the outside. Through that outside position, we’ll create the cruzada and then continue. Cruzada from rebote in Argentine Tango https://youtu.be/jqRNZL3NJyk Hola friends! Please join us on the dance floor as we explore the Cruzada from Rebote. Rebote is Spanish for “rebound.” With a rebote, we can do a cruzada in place with a little zip! We’ll start with a rebound forward, then a rebound backward, followed by the cross. Once we get that first rebound, which sets the boundaries and gets the movement going, when I hit the open step, be careful not to preempt the next step by turning too early. We want to create a nice, flat position with the hips and feet, staying open because we don’t know what’s coming next. Once Argen brings me back onto that foot, I’m rebounding, and I will use that energy. Don’t forget, we need to rotate on the heavy leg here, as we resolve back to our partner. The hips and toes should also resolve back to your partner at the same time. Don’t forget to release, and then when we’re ready, we can move on from there. For the leader’s part, it’s important not to go around your partner, as we often do in ochos and other pivots. Instead, invite your partner to come around you, cutting the corner between the two of you. One other thing to note about the Ocho Cortado is that it’s commonly danced with a quick-quick-slow, quick-quick-slow rhythm, which often appears in the music. So, as Argen mentioned, we can take this movement from the classic ocho cortado, but we can also extract that element of the Cruzada from Rebote and apply it in many different areas. While practicing on your own, we encourage you to explore the different ways you can create the open step. Want to give them some ideas to play with? Well, here’s one nice idea. We’ve seen the resolution before where we do forward, side, and collect together, but how about surprising your partner? That’s a fun one. I like that one. Yes, that could be! Tango Problem-Solving for All Experience Levels https://youtu.be/3gDtB62pWZc Hola friends! Please join us as we explore problem-solving in tango. We all want to move beautifully and flow around the floor with grace, ease, and complex, wonderful movements. But sometimes, those movements don’t work out as expected, and we need to figure out why. Problem-solving is key in those moments when the moves aren’t clear or comfortable.
Argen and Tina here with the Game of Argentine Tango. This is especially helpful if you’re trying to learn a move from a YouTube video or recalling something from a group class, but it’s not working out with your partner. Here’s how you can break down what’s going wrong and find solutions.
First and foremost, simplify. Often, when we learn a pattern, we treat it as one big chunk, thinking A leads to B, B leads to C, and so on. But if you start pulling out the individual elements that make up the sequence and move slowly—almost to the point of belaboring it—you may become more aware of imbalances or misalignments. Slowing down helps you identify areas where you might not be at your best.
On the flip side, try running through the sequence faster. Sometimes momentum helps clarify the movement and gives you that “Aha!” moment, where you can feel what you’re trying to achieve. However, remember that the goal is control. The movement should be led, not something you’re rushing through. Experimenting with both slow and fast approaches helps you find the sweet spot of energy and flow.
We often focus too much on the visual effects of a move—the fireworks that make it look impressive—without being mindful of the movements that lead to that effect. Take the sacada, for example. Many leaders think it’s all about the leg interaction, but the real focus should be on crossing paths with your partner, creating the space for that leg action naturally.
In a sacada, for instance, think of leading your partner first—moving them out of the way before stepping into the space they’ve cleared. Once you do that, the leg interaction happens organically. This approach avoids forcing the movement or making it look like you're searching for the leg.
As a leader, focus on creating movement in your partner’s body first, and adjust your own footwork as needed to support what you’re leading. The beauty of Argentine Tango is that leaders can modify their steps to create the shape they want in their follower.
We also encourage dancers to work on both roles—leaders learning the follower’s part and vice versa. It can be eye-opening to feel what the other role experiences. For example, having a follower lead themselves through a move while you follow can give you great insights into how the movement should feel.
A great tip is to address the embrace. Is it too tight, restricting movement? Or is it too loose, making it hard to communicate? Adjusting the embrace to give your partner enough space for movements, like a sacada, can make a world of difference.
You can even practice using a “hug” instead of a traditional embrace. This can help you and your partner focus on body movement rather than arm tension, especially for those new to close embrace. Embracing geometry is another helpful tool—leaders, think of surrounding your follower’s axis and creating a triangular shape with your feet, which provides stability and clarity.
When practicing, it’s helpful to film yourself or ask someone else for feedback. Analyzing your movements frame by frame can reveal where things go wrong. If you notice a problem on Step C, look at Step B—95% of the time, the issue starts earlier.
We hope these tips help you troubleshoot and improve your tango practice. If you have questions or comments, feel free to visit us at Game of Argentine Tango, a free resource where you can interact with us directly.
We’ll see you on the dance floor! Abrazos!
The Magic of Baldosa U https://youtu.be/PlS3m3mYtJY Hola friends!
Join us as we explore the *Baldosa U*. Argen and Tina here with the Game of Argentine Tango, and today we’re diving into a fun and informative exercise inspired by a festival workshop with Yanina and Neri. We’re going to take one half of the *baldosa*—basically a square—and work with our partner in ways that will enhance our understanding of movement.
The exercise starts with asking your partner to step across and beside you, repeatedly forming a U-shape. At first glance, it seems simple, but we can make it much more interesting by adding pivots, weight changes, and intentional pauses at different points in the movement. By doing this, we’re constantly switching it up, and each point in the U becomes an opportunity for creativity. We can either continue doing the same, or pivot, pause, or change weight.
One of the most valuable aspects of this exercise is how it helps you focus on your *center-light*—the need for your upper body to track your partner as they move across and beside you. Both partners need to be constantly aware of their *center-light*, ensuring they stay connected and aligned.
Beyond the physical fun, this exercise trains the subtlety of leading movements without necessarily stepping around your partner. Imagine a situation where you want your partner to do a back crossing step, but you aren’t able to surround them physically. This challenge forces us to be intentional with our embrace and center-light, ensuring that even without the geometry we normally rely on, we can still communicate effectively.
As Tina points out, this exercise also encourages you to make subtle movements within your own body. Sometimes, when we want our partner to move across us, we don’t need to step with them. By identifying small shifts in our rib cage, we can guide them across our body while giving them space to move freely.
Another aspect of this exercise is the ability to “fake” movements. For example, when leading a step, you can pretend you're going to move without actually taking the step. This allows you to create intention and make your partner feel like something is happening, even though you're remaining in place.
We also encourage you to get into uncommon positions and challenge yourself to lead or adjust movements to make them comfortable. If something feels unclear or uncomfortable, like a tricky back cross where you can’t surround your partner, ask your partner to lead themselves through the movement and feel what needs to happen. This passive observation allows you to understand the movement more clearly.
Now, let’s gamify it! Challenge your partner by calling out different step directions—front, back, open—just before a movement. This helps develop quick adaptability to changing circumstances, such as when someone steps into your path or when you hear something new in the music that inspires a different movement. Your partner might call out “front” or “back,” forcing you to make weight changes and quick adjustments to get into position.
This playful approach not only makes learning more fun, but it also sharpens your ability to respond quickly and with precision, key skills for any tango dancer.
We can’t wait to see the creative ways you explore the *Baldosa U*. Feel free to share your videos on GameOfTango.com so we can see what you've come up with!
Until then, abrazos!
Exploring 'El Gato' for Intermediate & Advanced Dancers https://youtu.be/HCe5yJsfb4g Hola friends!
Argen and Tina here with the Game of Argentine Tango, and today we’re diving into *El Gato*—a fun and dynamic element we love to use in our dancing. We’re excited to share it with you, but first, if you’re enjoying our content, please take a moment to like and subscribe to support free tango resources online!
So, what exactly is *El Gato*? It’s a figure introduced by Christy Cote and George Garcia in the Argentine Tango module of the DVIDA Pro certification. The *El Gato* involves a step with a pivot and an immediate weight change in place. While we’ll show you the traditional version, we’ll also explore how to generalize this into a principle you can use to expand your creativity and improvisation.
Now, let’s break it down! In *El Gato*, the movement starts with an outside partner step, leading into an overturned pivot followed by a weight change. As leaders, it’s important to focus on the upper body and torso to guide the pivot and communicate the weight change clearly to your follower. Be sure to make sure your partner has fully made the weight change before moving on to the next part of the sequence.
Once you’ve mastered the basics, *El Gato* opens up a world of possibilities! You can lead into forward ochos, molinetes, or even sacadas. The beauty of *El Gato* lies in its versatility—you can adjust the timing, creating quick-quick-slow rhythms, or play with different exits and embellishments.
One of our favorite variations is to over-rotate the *El Gato*, leading into an Americana position. From there, you can get creative with fun exits like leg wraps or molinetes. We also love playing with *El Gato* in a linear or circular fashion, allowing us to adapt to different musical moments and energy levels.
While the *El Gato* offers lots of fun, there are a few precautions to keep in mind. Leaders, be mindful not to rush the weight change—focus first on completing the pivot before initiating the weight shift. This is especially important during back ochos, where rushing the weight change can lead to injury. Always ensure your partner’s foot clears before leading the next movement.
We hope you have fun experimenting with *El Gato* and finding new ways to incorporate it into your dancing. We’d love to see how you get creative with it! Share your videos with us on Facebook, and let’s exchange ideas!
Until next time, we’ll see you on the dance floor. Abrazos!
Using External Cues to improve Argentine Tango https://youtu.be/krkQgQ-Cl9o Hola friends!
Tina and Argen here with the Game of Argentine Tango, and today we’d like to invite you to join us as we explore how to improve your dancing with the help of external cues. As dancers, we are often shaped by our habits, environment, and even our genetics. What feels right might not always be the most efficient or correct use of our posture or movement, which is why external cues can be incredibly helpful in recognizing and correcting these habits in your body.
Sometimes, a teacher or another dancer can provide these external cues for us. For instance, if a dancer is leading backsteps with their top instead of their core, a simple hand hovering near the back can immediately help them realize when they’re out of alignment. By applying a light touch, you can feel and correct where the movement should be initiated from—bringing your focus back to the core instead of leaning back.
But what if you’re practicing on your own? One of the best self-cues is placing your hands on your body to check alignment. For instance, placing a hand on your abdomen and chest helps ensure that your upper body stays upright, floating above your pelvis without crunching forward or leaning back. Similarly, placing your hand on your gluteus while stepping backward ensures you’re activating the powerful leg muscles to drive the movement instead of just taking a lazy step.
Another excellent external cue is using kinesiology tape (or even masking tape) to reinforce proper movement. For followers, taping the front of your knee can be especially useful to remind you to take longer, smoother back steps by using your back muscles rather than relying on the knee to create the movement. As soon as you bend your knee incorrectly, the tape will provide instant feedback, pulling on your skin and reminding you to straighten and activate the proper muscles for elongated steps. This trick is just one of the many helpful tips we explore in our *Empowered Follower* video, so make sure to check that out!
These tactile cues can be game-changers, but sometimes we may not sense a problem ourselves. That’s where a trusted partner comes in handy. You can ask them to give you a gentle, non-verbal cue when you’re falling back into bad habits. For example, a quick squeeze of the hand or a light tap on the shoulder can serve as a discreet reminder without feeling judgmental or disruptive. Non-verbal communication is key, and a well-timed cue can make all the difference without breaking the flow of the dance.
Positive reinforcement is just as important! At a milonga, if your partner does something delightful, you can non-verbally communicate your appreciation with a gentle back rub or a tighter embrace to show, “That was amazing!”
Another invaluable tool is video review. Just like athletes, dancers can benefit tremendously from watching themselves in action. Set up your phone during practice or ask someone to film you at the milonga. Watching yourself on video allows you to notice details you might not catch in the moment, like posture, leaning, or imbalances in your movement. Slow it down, analyze frame by frame, and identify areas for improvement. Video feedback offers an outside perspective and is one of the best ways to track your progress.
Every expert knows that improvement requires both focused, intentional practice and consistent feedback. It’s not just about working hard but also making sure that work is moving in the right direction.
We hope these tips on using external cues help you improve your tango. If you want to dive deeper and explore how to learn, improve, and practice Argentine Tango, join us at GameOfTango.com, where we offer a free course packed with helpful tips and resources. We’ll see you on the dance floor. Abrazos! The Secret to Powerful Pivots https://youtu.be/nkWFVMq4LlA Hi, this is David, and I'm coming to you from the Tango Tribe studio in Austin, Texas.
Today, I would like to share a secret we use to help students produce powerful, controlled, and smooth pivots, both forward and backward. Let’s start with some warm-up exercises that will prepare the body and help you learn how to move in a way that creates these pivots.
First, let’s begin with heel raises. Place your heels together, with your feet turned out or at an angle that's comfortable, creating a nice, stable base. Move your heels up and down in a slow, smooth, controlled manner, ensuring you engage the muscles as much as possible. The ankles are essential because they connect the rest of your body to the base supporting you, which is your connection to the ground. This is an exercise you should always work on.
You can make it more challenging by lifting one foot at a time, anchoring one heel against the other. The heavy leg is doing the work, while the light leg floats freely. Then switch legs, anchoring the light leg’s heel against the heavy leg.
In Argentine tango, we want to keep a nice level while dancing, so instead of rising on our toes, we flex our knees slightly forward to release the heels just enough for the foot to skim over the floor.
Next, we’ll move to a different exercise. Stand with your feet slightly apart, with your legs still under your hips. Now, do a twist while keeping your hips and torso facing forward. Let the legs twist independently beneath you. Afterward, keep your legs still and rotate only your hips, allowing the torso to stay facing forward.
If this feels tricky, think of working in opposition: when one hip moves forward, imagine pushing your opposite shoulder forward to help guide the movement. Finally, keep everything from your hips to your feet stable while rotating only your torso. Keep your chin over your breastbone and arms relaxed.
Now that we've warmed up the body, let’s do some side-to-side steps. With each step, emphasize rotating through the edges of your feet, grounding yourself into the floor. I always like to highlight the importance of energy because it connects the dancer to the music and your partner. Good, strong energy will help you produce more powerful movements and connect with your partner, regardless of their energy level.
Let’s add forward and backward steps now. As you step forward, roll through your entire foot, pushing off from the front of the foot. As you step backward, push off from your heel. This movement is crucial because when stepping backward, you want to create space for your partner and ensure your hip is fully over your axis, which helps with pivots.
Now for the secret! Most tango instruction emphasizes dissociation, where your body twists in opposite directions to help create pivots. For example, if you are executing a forward pivot, you twist your shoulder away from the direction you want to go to help pull the hip around. However, I believe there are other key muscles that are even more important: the hip rotators.
For external rotation, which turns the foot away from the center line or rotates the heel forward, there are six muscles that attach to the thigh bone and run horizontally. For internal rotation, which turns the foot inward or rotates the heel backward, there are also six muscles, but these run more vertically, making them less effective. This is one reason why back pivots are often more challenging.
Here’s a helpful tip: by tilting your pelvis forward during a back pivot, you can place those internal rotator muscles at a better angle for the movement. It also helps shift your weight forward over the ball of your foot, freeing up the heel for smoother pivots.
But here’s the real secret—how do we use both internal and external rotators together? By pressing one heel against the other, we can engage both sets of muscles. When pivoting forward, press the heel of your moving leg against the standing leg to engage both internal and external rotators. When pivoting backward, press the heel of the light leg into the heavy leg to achieve the same effect.
For example, when pivoting forward, press the heel of the heavy leg into the light leg to produce a strong, controlled pivot. When pivoting backward, press the light leg heel into the heavy leg, and you’ll notice a smoother pivot. You can try this while standing still, and eventually, you can apply it while in motion.
I know this explanation sounds complicated, but once you try it, you’ll see how simple it can be. Just remember: whichever direction you're turning, press the appropriate heel into the other, and you’ll get more powerful and controlled pivots.
So, that’s our secret! I hope you try it out in your own practice or with your students. In our experience, this technique quickly helps dancers, even beginners, produce much higher-quality pivots. Give it a try, and let me know how it works for you.
Thank you for your attention! Molinete practice with a stick https://youtu.be/EpSM5vyzc2o Hi, this is David at the Tango Tribe studio in Austin, Texas, and today I have a tip for you on how to practice molinetes. I use a stick from a broom or mop (you can leave the head attached or not), and we place the smooth end of the stick on the floor. There are four things we'll focus on.
First, by using a two-handed embrace with one hand over the other, we can enforce a position where we stay aligned with our partner throughout the movement, whether we're in a front crossing step, a back crossing step, or an open step.
Second, imagine a circle surrounding your partner. We want to keep our hips oriented along this circle for proper stepping—either stepping along the radius for forward or backward crossing steps or perpendicular to the radius for an open step.
Third, it’s important to keep our partner vertical, avoiding any pushing or pulling that could disrupt balance. Maintaining a vertical alignment ensures both partners stay stable.
Lastly, as we step around, we want to energize our movements just as we do in walking, by rolling through the foot. This helps produce a horizontal push along the floor while keeping the head and shoulders level.
By focusing on these four aspects, you’ll create smoother and more controlled molinetes. Happy practicing!
El Basico con Sabor Episode 1 Weight Changes Interrupted: Transform Your Argentine Tango 8 Count Basic: Add Musicality & Creativity https://youtu.be/Lq6rqSEFZQE
Hola, friends! Please join us as we explore how to add flavor to the basic steps in Argentine Tango. Argen and Tina here with the Game of Argentine Tango, and today we'd like to dive into the idea of treating patterns like recipes—starting points that we can add flavor and spice to, changing ingredients to make it more interesting and satisfying. We want Argentine Tango to be musical, improvisational, and creative. At the same time, we need to respect la ronda, the line of dance, as we share the floor with other couples. A lot of times, when you're strictly following a pattern you’ve learned, it can feel like you’re confined to that pattern. But, as Argen mentioned, a recipe is just a starting point—you don’t always have to follow it exactly. Let's take a look at how we can mix it up and do El Básico con Sabor (the basic with flavor). To make sure we’re on the same page, let’s review the basic recipe for the basic step. Typically, it starts with a backstep, but if someone is behind us, we may instead do a weight change. Next, we step to the side, moving into the right outside position. We continue forward, reaching the cross (cruzada), and finally, we resolve with steps six, seven, and eight. It’s a simple sequence, but within this eight-count basic, there are countless opportunities for creativity. In this session, we’ll explore how we can incorporate weight changes such as traspies, cunitas, and rebotes into the basic step. If you’re unfamiliar with these terms, head over to GameOfTango.com to learn more! For example, after the first step, we can introduce a traspié at the second step. Moving into the right outside position, we find ourselves in a great spot for a cunita, and we can even rotate it if we’re blocked from moving forward. In the cruzada, we are in a neutral position with no predetermined direction, making this an ideal moment for a rebote, a rhythmical, energetic movement. Finally, we can resolve with a traspié in the opposite direction. As you can see, the traspié is very versatile. You can actually use it on every step of the eight-count basic. This is a great way to practice connecting with your partner and exploring the possibilities within the basic. Cunitas are typically done off a forward movement, so any time we step forward, we can play with the range of possibilities. You can keep the cunita soft and simple, moving straight along the line of dance, or rotate it in either direction. We encourage you to explore these options. Remember, this is an exploration and a launching point. We offer suggestions, but we’d love to see what you come up with as well. When practicing, you might want to start without music to perfect the movements. Try placing a cunita, rebote, or traspié on each step to build your ability to execute them in any direction. Then, when you add music, choose the elements and spices that best fit with the rhythm and energy of the song. If you’d like to explore more ways to become musical, creative, and improvisational with your tango dancing, head over to GameofTango.com. Sign up for a seven-day free trial, and we’ll even send you a personalized practice planner to help you get the most out of your solo practice. Until then, abrazos! Episode 2 Ochos: Transform Your Argentine Tango 8 Count Basic: How to get into Ochos from any step! https://youtu.be/n6H6F2Eju5U Hola friends, Argen and Tina here with the Game of Argentine Tango. We'd like to welcome you to Episode Two of our El Básico con Sabor series. This is where we take a look at adding flavor to the basic steps. We're focusing on the eight-count basic that is often taught at the very beginning of learning tango, and we’re showing you how, much like a recipe, you can swap things out and change the “ingredients” to fit your preferences, the music you’re hearing, and your reactions to la ronda (the line of dance). In this session, we’ll explore how we can use any step of the eight-count basic to get into our ochos, which, as we know, are a staple ingredient in Argentine Tango. Once you're in ochos, many possibilities open up, but sometimes we get stuck using the same entrances into back or forward ochos. We’d like to show you how to mix it up and enter ochos on any step of the basic. Ochos are important because they fit well with lyrical music—the melodic flow of tango—and they help us reorient ourselves, both around each other and in the room. To get us started, we’ll quickly walk you through the eight-count basic to make sure we're all on the same page, and then we’ll break it down. Step one is traditionally a backstep, but it’s often omitted to avoid backing into someone behind us, so we can replace it with a weight change. Step two takes us to the side, moving into the right outside position, followed by steps three and four into the cruzada, and then we resolve with steps six, seven, and eight. Starting with step one, believe it or not, that simple weight change is a great opportunity to enter into ochos right from the beginning. By sending our weight to the arm side, and then rotating our frame, we can easily transition into ochos. It’s important to ensure that both you and your partner have made that weight change to the arm side. Sending your partner just past you helps with framing and rotation. If the frame isn’t maintained properly, you’ll find yourselves disconnected and using your arms instead of your body, which makes the ocho uncomfortable. Moving into step two, this side step is another excellent opportunity to enter ochos. By dissociating slightly, you can keep your partner just behind you, stepping out and framing the heavy leg to seamlessly move into ochos. Step three provides a forward step, which can lead to a single back ocho or continue into more. As you step slightly outside your partner, you create a triangle between your feet and your partner’s heavy leg, making it easy to frame and execute the ocho comfortably. Step four is another forward step, and this is where we would normally prepare for the cruzada. To avoid committing to the cruzada too soon, the leader can give early rotation to create an opportunity for a back ocho instead. After the cruzada on step five, we typically rotate out of it into a forward ocho on the arm side. While this is a common pattern, we can spice things up by using ochitos, which are smaller ochos that cross the leader’s path, adding rotation and flavor. These can be especially useful when you need to reorient on the line of dance. Step six, traditionally an outside partner step along the line of dance, can be adjusted to create a long ocho, redirecting to another cruzada or something else. By taking an additional back step, the leader can help frame the ocho, keeping the follower over their axis and feeling secure. As we move to step seven and approach the resolution, you can introduce small rotations or hovering actions before entering into the ocho itself. This adds a fun dynamic, and by shifting weight on step eight, you can easily transition into a new direction. It’s important to note that at any point, you can switch between back and forward ochos by allowing a bit more space. Relaxing the embrace slightly can make room for the geometry between the two dancers, ensuring the ochos feel comfortable and connected. As you watch this video, pause to examine the framing of the feet and the geometry of the couple—this is key to making your ochos feel natural. Leaders, remember that you have the flexibility to change weight as needed, keeping track of your partner’s heavy leg and adjusting your movement accordingly. This mindset helps you take your dancing from basic patterns to a more improvisational, creative level. It allows you to make additional weight changes or adjustments on the fly, ensuring your partner stays over their axis. We encourage all of you to think creatively, becoming more musical and improvisational in your tango. Embrace these opportunities to experiment and enhance your dancing! Episode 3 Cambio: Transform Your Argentine Tango 8 Count Basic: How to get into Cambio de frente from any step! https://youtu.be/UuJyuLGecro
Hola, friends! Please join us as we explore how to use El Básico, the basic pattern, as a launching point for other interesting figures, particularly the Cambio de Frente. This is Episode 3 of our El Básico con Sabor series. Tina and Argen here with the Game of Argentine Tango, and in this series, we’re looking at how you can take the recipe of the eight-count basic that we were all taught when first learning how to dance and use it to vary and break out of that mold into other movements. To make sure we’re all on the same page, let’s quickly review our eight-count basic. Traditionally, it starts with a back step, but we often replace it with a weight change so we don’t back into someone. Step 2 moves to an outside position, then 3, 4, and 5 lead to the cross, and we finish with steps 6, 7, and 8, the resolution. Now, let’s get on the same page about the Cambio de Frente. This movement, or “change of front,” is based on a repetitive pattern: forward, side, back; back, side, forward. We run it one way, then reverse it. If rotating counterclockwise, the Cambio looks like forward, side, back, and back, side, forward, creating a lovely rotating movement. The partners alternate, with one leading first, then the other. Just as we rotate counterclockwise, we can also rotate clockwise using the same forward, side, back, and back, side, forward sequence. If you're a player with the Game of Argentine Tango, we have an entire card that breaks this movement down, and we’ll include a link to that below. If this movement is new to you, feel free to check it out. So, how do we get from the eight-count basic into Cambio de Frente? The first step coming off step 2 makes this transition easy. Let’s use step 2 as a starting point for our Cambio de Frente and then proceed with forward, side, back, back, side, forward, and we’re ready to move on. Seeing how easily you can flow into something else can help break you out of the eight-count cycle. One thing to note is the importance of outside partner positioning to make the Cambio de Frente work. As Argen starts, notice the points where we are outside partner. First, Argen moves into the outside partner position. Then, I step outside partner as he crosses the track. We step sideways, and here’s another outside partner moment for the leader—an ideal time to lead into the cruzada and reconnect with the eight-count basic. Next, let’s use step 3 as our starting point and turn in a clockwise direction. We begin with forward, side, back. To change things up, instead of continuing in the same direction, we’ll use a zigzag motion, turning counterclockwise. To do this, we take two steps backward and then rotate for the sideways step into the outside partner position. From there, we walk in a zigzag, switching direction. Now, let’s move to step 4 and head to the cruzada for another variation. Argen creates a carousel-like action by using the Cambio de Frente footwork—forward, side, back—while I join him on the back step, and we continue rotating. This creates a flowing movement perfect for the vals, where you’re constantly rotating around the floor. From the cruzada, we proceed with forward, side, back, joining him for the back step, and off we go! To incorporate the Cambio de Frente in a compact way, we’ll use it in the resolution of the eight-count basic. We transition straight into the Cambio de Frente from the resolution with forward, side, back; back, side, forward, all in a compact space. This is a great way to continue dancing through the resolution, especially if the couple in front of you is stationary. It allows you to keep moving without coming to a stop every time. The key idea we’ve explored here is that any step can be a gateway to other movements. Similarly, in the middle of a pattern, any step can serve as an exit. Instead of cluttering your mind with numerous patterns to remember and fit onto the dance floor, you can have more freedom by recognizing that at every step, you have the opportunity to move in a way that fits the music and your connection with your partner. If you’re interested in breaking out of pattern-based Argentine tango and want to become more improvisational and musical, head over to GameOfTango.com. You can sign up for our 7-day free trial and explore these concepts throughout the course. We look forward to seeing you on the dance floor. Until then, abrazos! Episode 4 Molinete: Transform Your Argentine Tango 8 Count Basic: How to get into Molinete from any step! https://youtu.be/mgvvH0cDeN0
Hola friends! Tina and Argen here with the Game of Argentine Tango, and we'd like to welcome you to Episode 4 of our *El Básico con Sabor* series. In this episode, we're going to add entradas (entrances) to the molinete, the circular figure where one partner moves around the other, or both partners rotate around a single point.
We’d like to show you the possibilities that exist within your eight-count basic, where you can abandon the basic step and get right into the molinete at any point. We want to emphasize that while we learn patterns, sometimes they don’t fit the music or space, so it’s perfectly fine to “bail out” and transition into something else. Every step can be an entrance to another figure.
Much like the Cambio de Frente that we covered in Episode 3 (check that out if you haven’t already), the molinete consists of a forward cross step, a side step, and a back cross step. If you find any of these steps within another pattern, you can merge them into the molinete at any time.
Let’s quickly walk through the steps of the basic and the molinete. Starting with the eight-count basic: the back step (which we often substitute with a weight change to avoid backing into traffic), step 2, step 3 to the outside, step 4 to prepare, step 5 into the cruzada, and then the resolution—forward, side, together—steps six, seven, and eight.
Now for the molinete footwork, recognizing that we can start anywhere. We’ll begin conveniently with steps 2 and 3 of the basic. Your partner will execute a back cross step, an open side step, and a forward cross step, repeating with open, back, open, forward.
Now let’s get into the fun part. Starting from step 1, that back step (or weight change), we can immediately transition into the molinete. We’ll show you from the back view so you can see what Argen is doing with his footwork. We won’t break everything down in detail—we challenge you to observe, pick out an interesting movement, master that position, and then add steps before and after it.
If you noticed, from step 1, all we did was create that “whee!” moment by rotating through the upper body. This is important for creating momentum. We can then easily return to where we started. These “whee!” moments of joy are like swinging on a playground, adding fun and energy to the movement.
Next, for step 2, we can create the molinete by going to the arm side of the embrace. For step 3, Argen uses the geometry between us to create a big, sweeping back ocho movement to enter the molinete. We’ve changed our perspective so you can better see what’s happening with our legs. From step 2 of the basic, I outstep my partner on step 3, and we’re ready to continue.
Now for step 4, we’ll show a rebound and return. We interrupt the usual entry into the cruzada by settling into the floor to prevent the cruzada. This alerts your partner that you’re doing something different. The sinking into the floor helps redirect the movement the other way. It’s important for leaders to create a boundary through the arm side of the frame to allow the follower to rebound comfortably.
Moving on to step 5, we create an opportunity for a mutual molinete. After the cruzada, both partners should feel a nice internal twist between the upper and lower bodies. This prepares us to unwind into a forward crossing motion at the same time, creating symmetry in the movement.
Step 6 is one of our favorites—another molinete combination, where we start one way and then use a rebound to head in the opposite direction. Surprises like these add fun and variety to your dancing. If you notice, step 6 is danced more slowly and smoothly than the rebounds in step 4, allowing you to stretch the movement out and create a different energy.
Now that we’ve guided you through step 6, all that’s left is the side step and the close of the resolution. We challenge you to come up with creative ways to enter the molinete on these last two steps. Send us a link—we’d love to see the results!
All of this information is covered in detail in the *Game of Argentine Tango*, where we build from foundational concepts. You can sign up for a seven-day free trial at [GameofTango.com](https://gameoftango.com) and receive a free practice planner to help you get the most out of your solo practice. This will help you become a clear, comfortable, and creative tango dancer. Until then, abrazos!
Episode 5 Dynamics: Transform Your Argentine Tango: Adding Dynamics to Your 8 Count Basic https://youtu.be/X66G78p-4T8
Hola friends! Please join us as we explore Episode 5 of El Básico con Sabor. In this episode, we’re going to explore dynamics within your eight-count basic. I'm Tina, and this is Argen, and we are with the Game of Argentine Tango. Our key word and concept for this episode is contrast—differences. Just like music has contrast with high energy, loud or soft, quiet moments, and even pauses, we want to demonstrate how to bring that contrast into your dancing. This will make your dance more interesting and better connected to the music. We’ll explore all these concepts within the simple eight-count basic that most of us were taught at the very beginning, so we’re all starting off on the same page. But just to make sure, let’s review the eight-count basic together, and then we’ll show how you can expand it with flavor. Starting with step 1: back against the line of dance. We generally keep this small to avoid running into someone behind us. Step 2 moves to the side, step 3 to the outside position, steps 4 and 5 as our partner crosses, and finally, the resolution with steps 6, 7, and 8. To change up this basic from something standard into something dynamic, we can start by examining the size of the steps and how closely that ties to the speed of the step. One of the most easily recognized differences in music is the speed—how fast it’s playing. We typically dance in three different speeds: normal time (dancing on every other beat), half-time (dancing only on the first strong beat of each measure), and double-time (hitting each beat or note in the measure). We’ll demonstrate the eight-count basic in these three different timings to explore what makes dancing at each timing comfortable and how to communicate it with your partner. Starting off with simple time, we step on each heavy beat (1, 3, 5, 7). This is great for steady, marching-type music. Then we have half-time, which creates opportunities to add drama, allowing your movements to become more intentional. This is often used in lyrical sections or when you need to slow down, such as when the couple in front of you has paused in la ronda. Finally, we have double-time, a faster, smaller, more rhythmical option. While it can feel a bit frenetic if used throughout the entire basic, there are moments in the music where double-time is perfect for responding to rapid notes. To dance this successfully, we need to make smaller steps and use more energy to control the size and speed of the movements. We like to think of energy as either contained within the couple for fast, rhythmical movement or flowing out and around the couple for slow, oozing movements. How you hold and communicate energy to your partner makes dynamic changes in your dancing more comfortable and clear. Now that you’ve seen how you can dance the eight-count basic in different timings, we encourage you to explore which parts of the basic lend themselves well to different timings. Incorporating highs and lows within the same basic can add flavor. For example, size and speed often go hand in hand. You can also play with the height of your movement. When taking larger steps, you may naturally sink lower toward the floor, while smaller steps typically bring you up. A lot of times, dancers stay at the same height, which may be comfortable but can start to feel monotonous. Changing up your height, even in a crowded milonga, allows you to express different qualities, even if space is limited. You could take quick steps under your body or “long” steps through your shoulders, simply by adjusting how you arrive at each step. Exploring the range of possibilities for height can create dramatic effects. If everything is danced at a normal height, that’s ground zero. But you can go below ground zero for a slower, more grounded look, or dance at a higher elevation for a lighter, livelier feel. When dancing low, proper collection becomes essential to bring everything back under the axis and make it look elegant rather than squatty. On the higher end of the spectrum, you’ll often see this in milonga (the dance), where the movement is light, quick, and full of repetition. You can incorporate these high, playful elements into your tango as well. For example, repeating movements like side steps or cruzada variations at a higher elevation can add rhythm and joy to your dance. Finally, we can also manipulate the collection of the light leg to change the look of the basic. For instance, you can slow down the collection to add drama or speed it up to match the music’s abrupt stops. Just because you know a few simple patterns doesn’t mean you can’t dance musically and with texture. Being connected to the music, your partner, and the other couples in la ronda is just as important—if not more—than memorizing figures. When it comes down to it, the feeling of connection with your partner, listening to the same music, and interpreting it together is what makes tango magical. The last challenge we’d like to leave you with is dancing in opposition to the music. Sometimes the musical instruments are in harmony, but sometimes they create counterpoints. As dancers, we can do that too by choosing to dance on the off beats or softer beats, or responding to the violin rather than the driving bassline. This adds interest and can be a pleasant surprise in your dance. If you’re interested in breaking out of pattern-based Argentine tango and learning how to be more musical and creative, join us at the Game of Argentine Tango. You can sign up for a seven-day free trial at GameOfTango.com, and we’ll even send you a personalized practice planner to help you make the most of your solo work. We look forward to seeing you on the dance floor. Abrazos! The Empowered Tango Dancer Empowered Tango Follower: Unleashing the Power Within Pt 1 https://youtu.be/FuskE1jBDJo Hola friends! Please join us on the floor as we explore the Empowered Dancer. Today, we’re focusing on the follower and the concept of matching energy. Argen and Tina here with the Game of Argentine Tango. Popular dancers who are on the dance floor throughout a milonga typically share a few traits. They have good energy when dancing, they match the music well, and they match the energy of their partner. As leaders, and as dance couples, we love to have that energy available to seize opportunities in the music, in the space we’re moving through, and to do those fun, special moves that add spice. Oftentimes, followers think that as long as they have a good leader, they’ll be taken care of. In this episode, we want to explore what the follower can do to empower the couple and take advantage of all the possibilities available to them. So, how does an empowered follower match energy? Let’s start by looking at the initiation of our movement, as it often sets the tone for everything else. Argen has a great exercise that helps us understand what it feels like to arrive over our axis with energy versus just taking a step. Argen: Imagine you’re running a foot race. You load your weight into that back foot, ready to launch yourself forward. In the dance, we use energy that matches the music, and while we may not be going for speed or size, we are aiming for coordinated use of energy that lets us arrive well-balanced, ready to move wherever our leader wants. If instead of using my energy with that coordination, I simply step to the next spot, the energy dies there. But, if we use the wind-up technique we explore in the Game, where we load all of our weight and then push, I arrive at the same spot with excess energy, available for the next move or to match the music. We encourage you to grab something you can slide across the floor to feel what it’s like to arrive with little energy versus arriving with a strong, energized step. Don’t limit this exercise to side steps—use it in the walk as well. Followers typically walk backward, so ask yourself: Am I arriving and settling into the walk, or am I sending energy backward? When the leader has extra energy to work with, it’s like driving a car with power steering versus without it. With more energy, the leader can manipulate the dance into more possibilities. But if you kill the energy with each arrival, the movement must restart before anything else can happen. Once you’ve explored how to arrive and begin steps with energy, let’s talk about matching energy within the partnership. There are different flavors of matching energy, particularly within the frame and connection. We need to calibrate the energy level that feels best for both partners. The 0-to-10 Exercise: In your frame, agree with your partner to start with 0 energy—just holding up your arms without any connection. Feel how disjointed and disconnected the movement becomes with 0 energy. Then, start adding energy together, moving to a 1, then a 2, and eventually a 5. You can also try the opposite extreme—10—where all muscles are engaged, and you're pushing against each other. This helps both partners calibrate the energy level that feels comfortable and works for both. In a real dance situation, you’ll want to match your partner’s energy. If you sense your partner is giving you a 6, it’s your job to raise your energy to match that level. Being either below or above your partner’s energy level can create discomfort in the dance. If you’re practicing solo, you can try matching energy by using your own hands. Try squeezing one hand with 0 energy and the other with 10 energy. You’ll feel how mismatched energy leads to discomfort. Matching energy is essential for smooth, connected dancing. A great way to see how well you’re matching energy is to film yourself walking with your partner. Set up a tripod at a milonga or your practice space, and review the video for consistent step size and leg movement. If you notice disparities in the steps or differences in leg mechanics, that’s a cue to calibrate your energy level and adjust. If you notice that your steps are not as powerful or long as you’d like, try adding constraints to your movement. For example, using kinesiology tape around your knees can give immediate feedback when you bend your knees. Bending too much will cause the tape to pull or even come off, reminding you to keep your steps elongated. By using constraints like this, you force yourself to use the proper muscles—such as your glutes and hamstrings—to create an empowered stride. We’ve covered how to use energy in the walk, how to match your partner’s energy, and how to move as if it’s your own idea. Remember, we don’t want to be energy vampires—drawing on our partner’s energy. We want to use our own energy and match our partner’s energy to create wonderful things in the dance. Join us in Part 2, where we’ll cover dance triggers and how to implement these concepts within your tanda at the milonga. We’ll see you then! Empowered Follower - Part 2 https://youtu.be/WwhwauANso4 Hola friends! Welcome to Part 2, where we are going to talk about triggers. The idea here is that in our Molinete moves and in pivots, we can use them as a trigger to spark us to run a mental checklist of how we are doing. Let’s get started. Whenever we’re learning something new, particularly a new skill, our body is more comfortable with what we’re used to doing. When learning new techniques, we need ways to remind ourselves to use them. One of the common ways is with trigger points—things that remind us, “Oh yeah, I need to work on this technique.” We like our trigger points to be things that occur frequently in the dance, so we have plenty of chances to check in with our body and our intentions, ensuring we’re doing what we want. The Molinete is a great trigger point because it’s used so often in tango. It’s also a pattern that leads to fun things like sacadas, ganchos, and leg wraps—all the moves that followers want. I want those things! A lot of times, they come from the Molinete. So let’s look at how we can bring power and understanding to the Molinete to open up possibilities for the leader to lead these fun elements. A basic Molinete often looks like this when you’re zoning out, not really thinking: Argen: It’s not my favorite. Tina: I wasn’t really using my body, so you probably felt like you had to drag me through every step, right? Argen: Yes, and since there’s no music playing, that wasn’t really motivating either. Still, when we practice without music, we want to use our best energy and form. Tina: Did that Molinete feel like it was open to possibilities? Argen: No, it felt like we just had to get through it. Tina: Exactly! Now, what happens if I embody the movement as if it were my own idea? Argen starts the Molinete, but I own the movement. This time, we got some fun footwork. Why? Because I was moving with power, and Argen could use that energy for his lapiz. He could feel when to move with me, and we shared the burden of the circular movement. He didn’t need to worry about moving me, so he could be stable and play around. The other important thing about opening up the Molinete to possibilities is giving your leader a window of opportunity. For example, in my forward crossing step, if I take a small step, I’m giving my leader a small window. He probably wouldn’t take it because most good leaders would recognize it’s not an ideal moment for a sacada. But if I move with drive and open up larger windows of opportunity, my leader has time to add embellishments. The extra space allows him to take definite movements and play with them. Anytime you encounter a Molinete during practice or a milonga, take that moment to mentally check in: Am I moving with my own power? Am I creating large windows of opportunity for my leader? Am I adding to the energy or draining it? Another common trigger point in tango is the pivot in an ocho, which reorients our hips to move in different directions. When you’re dancing, the pivot is another great moment to pause mentally and ask: Am I dancing as an empowered follower? When considering energy through the frame, think of it like a dial. Energy can be dialed up or down, and the correlation between energy and the speed of the pivot often matches what the leader is about to lead. Our frame acts as a pressure device, where the push or pull signals the pivot. As Argen increases energy through the frame, I match it. If I collapse and lose energy, it’s lost to the wind, and the communication lags between his suggestion and my follow-through. To calibrate, try an exercise where the follower gives zero energy and collapses under the lead. Then work up to a five, where the energy matches evenly, allowing for smaller, more fun movements like boleos and leg wraps. Finally, give a ten and see how too much energy stifles movement. This exercise helps partners calibrate energy and ensure they’re matching it as it ramps up and down. Two key things to note: 1. As long as there’s pressure, even light pressure, the pivot continues. 2. Heavy pressure indicates the speed of the action. Matching energy keeps us in sync, making us feel like we’re moving as one. When we pivot, we want to move as several parts—like a cylinder made up of sections. Start with the upper body and delay committing the lower body. This creates a springing motion and allows patience in interpreting the lead. If we move everything at once, we lose that delay and elegance. But when the upper body responds first, the rest follows in a spiral, creating a more elegant, connected ocho. Lastly, remember to own your steps in ochos. Drive your own forward movement with power, whether in forward walking steps or circular movements like Molinetes. Don’t be passive or let yourself be dragged along. And when going backward, be prepared to balance and potentially slide further than expected. When learning new skills, imagery can be a powerful tool. For tango, we like to think of traditional tango as a river—fluid, effortless, continuously flowing. The Vals is like the wind—light, high, and circling, flowing through the trees. And the Milonga is fire—fun, fast, and passionate, like dancing on hot coals. Any tango song can embody any of these elements. As the music flows, ask yourself: Does this feel like wind, fire, or water? Match the music or, sometimes, dance the opposite for contrast. When both partners contribute to the dance, it becomes more fun. It’s not about one partner controlling the other but about both creatively interpreting the music together. This is what we aim for with the Empowered Dancer series: to empower followers to own their experience and leaders to enhance their musicality and improvisation. Join us in the next episode, where we’ll explore how to use the Matrix to increase possibilities and creativity in tango. Until then, abrazos! Empowered Leader - Part 1 https://youtu.be/lvGp1sFJ9b8 Hola friends! Please join us for Episode 2 of “The Empowered Dancer.” If you didn't catch Episode 1, we worked on empowering the Follower, so make sure you check that out when you get a chance. In this episode, we are focusing on empowering the Leader and exposing the partnership to all the possibilities that could arise, which allows us to really tap into improvisation and creativity. I'm Tina, and this is Argen, and we're here with the Game of Argentine Tango. Today, we are taking a look at The Matrix and how that can really expand the possibilities available to us as a couple. The Matrix—what are we talking about? The matrix is the idea that we have three choices for moving with respect to our partner, and our partner has the same three choices. So we have a three-by-three array—a matrix. Let’s suppose you are my partner, and this is my heavy leg. With this leg, how can I step with respect to you? We might be walking forward, you walking backward, or I’m walking backward, and you’re coming to me. Or, I step around you, or we both go to the side. All of this, almost 180 degrees, is available to us as an open step. Alternatively, I can step across in front of you—this is a front crossing step, abbreviated F, where my free leg crosses in front of the heavy leg. Matching that, I have the choice of sending my light leg behind the heavy leg, around toward my partner, which we call a back crossing step, abbreviated B. So basically, depending on where the free leg is moving, it’s either an open step (if it stays on the same side as it started) or a front crossing or back crossing step. As long as you can remember those three steps, we have a plethora of options. Let’s see how it works with a partner. And if you don’t have a partner, you can practice with a floor lamp, broom, or chair—just experiment stepping around. With a partner, we can actually move together. We’ll be exploring what that means too. You can step an open step around your partner, a back crossing step, or a front crossing step. Your partner has those same options. So, that’s the Matrix. Now, let's see what we can do with that and the possibilities of moving with our partner. Can we also move without our partner—still with them, but without them? Let’s say we’re exploring the open step as a partnership. As Argen mentioned, we can both take open steps in various directions. As long as we don’t cross the plane of the heavy leg, all of that is open step territory. However, Argen might decide he wants to stay in place and leave me to take an open step around him. This movement is great for getting into all of our cross-system possibilities. While he is not changing weight, through his upper body, he’s leading me to take that open step. We have those same possibilities with back and front crossing steps. The first thing we'd like you to do with your partner is explore these movements. Some extreme front and back crossing steps may feel uncomfortable. That’s important! Recognize your range of possibilities—what’s comfortable, and what might require adjustment as a leader or follower to make it more comfortable. We’ll get to those adjustments, but first, we’ll explore more natural movements and how they can spark creativity. Consider this: if I move a certain way, does my partner have to move the same way? No. We often move together, but we can also move in opposition. For instance, I might take an open step while my partner takes a front crossing step—this sets up a lovely sacada. Many Argentine Tango movements may look intricate, but when you break them down, they’re one of three basic movements. Understanding this helps you analyze and recreate those movements in your own practice, demystifying the dance. In the Game of Tango, we use a system for recording these moves, so when you see a video, you can analyze it. This makes it easy to find a sequence in your notebook rather than sifting through hours of video footage from workshops. Now, let’s talk about another difference. We can be on different feet. For example, if Tina moves on the light leg closer to the camera, I can move with my foot further back, and we’re both doing an open step. While it might look like we’re winding around each other, we’re both still in open steps—just taken at different angles. You can check this by turning toward your partner. In an open step, there’s no twist in the legs. But in a crossing step, turning toward your partner tightens that twist. So how do we use this information to be more creative and improvisational? First, be aware of the possibilities. If you’re locked into a pattern and execute it the same way each time, it becomes predictable. But if you realize that at any point in time, you have three options—open, front crossing, or back crossing—you unlock endless possibilities. Take the eight-count basic as an example. Instead of following the pattern exactly, you can recognize that on any step, you can switch to an O, F, or B step. For example, at step three of the basic, I’m in a front crossing position, and Tina is in a back crossing position. Ordinarily, we’d continue with two open steps, but I can invite Tina to take an open step around me without moving. Or, I can shift my weight forward and invite her to take a back crossing step. By realizing the options available at any moment, we start to expose the different things we can do as a partnership. These moves aren’t just tied to a specific sequence—they’re open to improvisation. There’s more: one partner can move while the other stays still. You can move in the same direction or in opposition—commonly seen in the sacada. You also have the option of stopping your movement while your partner continues, and vice versa. This is what makes Argentine Tango so unique. In other partner dances, both people must move together. In tango, we have the freedom to explore a range of movement possibilities—moving together, in opposition, or independently. As you practice with your partner, take time to dive into these opportunities. Also, remember that at any point, you can do a weight change—together or individually—to create a new foot to play with. You can also include a pivot to set up your next direction. Empowered Leader - Part 2 https://youtu.be/eUyxDRfmcNc Hola friends! Please join us for Episode 2 of The Empowered Dancer. If you didn't catch Episode 1, we worked on empowering the Follower, so make sure you check that out when you get a chance. This episode, we are working on empowering the Leader and exposing the partnership to all of the possibilities that could arise, which allows us to really tap into improvisation and creativity. I'm Tina, and this is Argen. We're here with the Game of Argentine Tango. So, we've explored how we can use the eight-count basic to increase our creativity at each point. Now, let's look at the Baldosa—Spanish for “tile.” We're going to actually create a domino or a Baldosa tile on our floor. If you have some painter's tape or gaffer’s tape—something that won’t damage the floor—you can mark out a simple grid, similar to a six on a domino, with spots in each corner and a set of spots in the middle. This can be as small as 2 ft by 4 ft if you have a small space, which is great for working on in-place movements. Or, it can be a little more spread out, like we have here, so you can use it for a bit of traveling as well. Now that we've set up our Baldosa playground, there are several different ways we can use it, with varying levels of complexity. Let's start with the pattern called Baldosa: side, forward, forward, side, back, back, and repeat. Notice how we hit each of these points on the floor—these are our decision points. We’re traveling from point to point in an outside position, but it can also be done in front. We can also do a rotating Baldosa, which is useful because it lets us look around at what’s happening in la ronda around us. Plus, it's fun! When we actually get to a milonga, we can stretch that out and take half of the Baldosa along the line of dance. This is a great move for navigating the room, similar to Cambio de Frente (if you’ve seen our previous videos). Next, let’s play with weight changes, and this time, we’ll be doing them together. If you notice, Argen uses each of the dots as a decision point. Whenever we arrive on a dot, he decides whether we’ll change weight together to switch our free leg or if we’ll keep going. This structure gives us opportunities to make micro-decisions and change things up. Let’s change things up a bit more by doing weight changes with just one partner. Fun surprises, like going in opposition or having one person move while the other doesn’t, can be delightful in the dance, adding creativity since you didn’t expect it. Now, let's add a little sabor (flavor) with pivots. At any of our decision points, you can choose to pivot yourself or your partner. And we're ready to go again—nice! Now that we’ve explored many different ways to use the Baldosa, let’s move into the gamification aspect. We can choose two different ideas. First, we can pick a specific path through the Baldosa. For example, let’s say we want to make an “S” shape through the Baldosa. Then we’ll make whatever weight changes or pivots are necessary to follow that path. Alternatively, instead of choosing a path first, we can make decisions at each point, like picking a different type of movement, and let that create our path. And we're back to the start, ready to go again—nice! If you noticed in that last sequence, Argen got even more creative by using the diagonals to reach different points as well. We encourage you to explore all the possibilities available. You can make up your own rules—we like that! We would love to see the creative things you come up with using your Baldosa tile. Film yourself and send us a video over on Facebook. We’d love to see what you come up with. Until next time, Abrazos! Survival techniques for the follower https://youtu.be/kxqzHbjvJWA Hola friends! Please join us on the floor for our Empowered Dancer series. Today’s topic is survival techniques for the follower. Argen and Tina here with the Game of Argentine Tango.
So, you’re at the milonga, dancing with leaders you may have never danced with before. Once you’ve accepted their cabeceo and find yourself on the dance floor for a tanda of 3 to 4 songs, it might not be going quite as well as you’d hoped. But you’re there, and we want to make the best of it, aiming for a successful and enjoyable tanda.
First and foremost, we need to bring our 50% to the table. Our solo work allows us to arrive on our own axis. It enables us to practice grounding and generating energy from our own body and movements. If you’re curious about how to learn more about this, we’ve dedicated Episode 1 to becoming an Empowered Follower. The key here is to bring your most empowered self to the partnership. When you're comfortable moving within your own body, it positively impacts the entire dance partnership.
Let’s say your leader takes a larger step than you expected, pulling you off your axis. A few techniques can help you adjust and stabilize the situation. Use your frame and body to connect and ground. Soften your joints and create a gentle tension in the frame. This signals to your leader that you're not quite ready to move on, allowing them to pause and adjust. You can also micro-pivot to realign your hips. Instead of staying off-axis with a sideways angle, pivot slightly to face your partner, making it easier to regain stability. If necessary, use a “kickstand” for support. You can momentarily place your other foot down to stabilize yourself, while still keeping most of your weight on the original foot led by your partner. Lastly, if you’re really off-balance, you can do a small chasse step to return to your partner while maintaining the original system.
Sometimes leaders might pull you in closer than you’re comfortable with. You can subtly move to create space while maintaining a close embrace. It’s important for your dancing to stay on your axis, and you can’t do that if you’re crushed into the embrace. Claim your space to ensure that you’re not being pulled off balance by an overly tight embrace. Non-verbal cues like slight adjustments or even squirming can signal your discomfort. If that doesn’t work, it’s okay to politely ask, “My wrist, please” or “Can we adjust?” Remember, followers, you never have to put up with discomfort. You’re allowed to ask for what you need in order to maintain your axis and enjoy the dance.
If you're unsure of what the leader is trying to lead, don’t immediately apologize. Instead, give a gentle hand squeeze or a small smile to acknowledge the moment. Repeatedly saying “sorry” adds pressure, and it’s unnecessary. Stay curious about the movement rather than assuming you know what’s coming. Separating your upper body from your lower body during pivots gives you more time to interpret your leader's intentions accurately, avoiding rushed movements.
When none of these techniques seem to work, it's okay to pause and let your leader fix the situation. A simple pause can give your leader the opportunity to reset and move on without a fuss.
Dancing with a beginner can be a great opportunity to work on your fundamentals—perfect your walk, connection, and musicality. Shift your mentality to embrace the practice opportunity rather than thinking it’s boring. On the other hand, if you're dancing with an expert and feel nervous, remember to occupy yourself fully. Don’t worry about impressing them with fancy moves—focus on your technique and connection to the music and your partner.
We hope these survival techniques will help you at your next milonga! We look forward to seeing you in Episode 4, where we’ll provide survival techniques for leaders. Until then, Abrazos!
Survival techniques for the Leader https://youtu.be/EpvKq2MpGtg Hola friends! Please join us on the floor as we explore survival techniques for Leaders this time. This is Episode 3 of our Empowered Dancer series, and we are focusing on how to navigate a tanda at the Milonga with a new partner—someone you may never have danced with before—especially when things aren't going as smoothly as you'd like. How can we not only survive that tanda but also make it an enjoyable experience for both of us? I'm Tina, and this is Argen, and we're here with the Game of Argentine Tango. Argen, let's talk to the leaders. Let’s start with stability. Tango, in general, challenges our stability, and even expert dancers can have moments where dramatic movements throw off their balance. How can we address this? Let's look at the example of the Molinete. Say I lead my partner through an outside step, and they step back around, but they step too far—what do I do? First of all, I can twist into the force I'm feeling, which helps me ground and react better to the movement. I can also reposition the center of the circle. The key idea here is that we want to make our partner feel right. It's not nice or fun to highlight something as a mistake—we need to make things work. If I’ve gone too far, I can always put out a “kickstand” in any direction to regain my grounding. Some Tango movements, like the Molinete, actually originated as survival techniques to reposition ourselves and stay grounded. Another tip: the Molinete is also great for navigation, especially if you have a height disparity with your partner. Let’s say you invite someone to dance, and suddenly, you find yourself looking eye to eye or down at them. Height differences can throw off even the best leaders. A circular movement like the giro (turn) or Cambio de Frente allows you to scope out what's happening around you and regain your bearings. For shorter partners, close embrace can work well, but if there’s a big height difference, you might need to adjust the embrace to avoid awkward or uncomfortable positioning. Expanding the embrace slightly or lowering it can maintain connection without discomfort. Engage your back and shoulders so that even with a lower frame, you’re still moving as one unit with your partner. Another common issue: stepping on toes. It’s one of the biggest fears for leaders. But if your partner isn’t extending their leg the way you expect, don’t take that big step. Instead, make sure your wind-up is clear, and wait for the release of your partner’s leg before moving forward. If you feel your partner isn’t projecting with your intention, adjust your step size. Remember, the follower sets the distance for the embrace, so if things aren't going smoothly, expanding the embrace might give you both more room to move. If you’re really worried about stepping on toes, consider using circular movements or outside positions to avoid stepping in your partner's path. You can also model the behavior you'd like to see—try doing a Cambio de Frente and step backward with the energy and extension you'd like your partner to mirror. Gently show them how it’s done without forcing the issue. Now, let’s talk about followers who love embellishments. Have you ever danced with someone who seems to run off into their own world with adornos, or embellishments, after every step? How do you handle a hyperactive follower? The key is not to make them wrong or force them to stop. Instead, focus on sensing when your partner is ready to move again. If they’re busy with an adornment, let them finish before continuing the movement. Use pauses, and maybe even add your own little adornment to join in the fun. In the last episode, we talked about uncomfortable embraces. Leaders, you have the same right to adjust the embrace as followers. If your partner is pressing down on your arm, you can squirm slightly to indicate discomfort or deliberately pause and reset the embrace. A simple release and re-engagement can signal to your partner that the current position isn’t working for you. Now, let's address dancing with beginners. Many leaders may not enjoy dancing with beginners, feeling like it's a waste of time or that they won't get to showcase their skills. But we believe that dancing with beginners is a perfect opportunity to work on your own fundamentals. You can focus on improving your walking technique, musicality, embrace, posture, balance, and foot technique. A tanda with a beginner is a chance to practice these skills in a real dance scenario. Instead of brushing it off, see it as a valuable learning experience for yourself. On the flip side, if you’re the beginner dancing with an expert, don’t worry about impressing them. Experienced dancers aren’t looking for fancy moves—they want a nice connection and a good dance experience. Focus on your best technique, be musical, and keep the movements clear and simple. Thanks for joining us, and we’ll see you in the next episode, where we’ll explore tips for Pivots. Until then, abrazos! Back Ocho Power Play https://youtu.be/UJFXRk4kKLw Hola friends! Please join us as we explore the back pivot power play. Argen and Tina here with the Game of Argentine Tango. You might ask, why just the back pivot and not the front pivot? And why single out the pivot for the Empowered Dancer series without exploring other specific movements? Well, there's a distinct biomechanical difference between performing a front pivot and a back pivot. The way our muscles are organized makes it much easier to rotate our foot for a front pivot—plus, we can see where we're going. But when we pivot backward, we have less ability to turn our foot in that direction, which makes the back pivot more challenging.
Is there a trick to making the back pivot as easy and powerful as the front pivot? Yes, and we’d like to share it with you.
Let’s start with a simple experiment. You can try this with a partner or by holding onto a countertop. Begin with a side step and go into a back pivot, just to feel how it moves. Now, when you take that side step again, try using the heel of the other foot to push into the one that’s turning backward. What’s happening here? While one foot is pivoting backward, the other foot is effectively pivoting forward, allowing you to engage both sets of hip rotator muscles. It creates a much more powerful and stable back pivot.
This technique addresses two things: it helps us use our muscles efficiently, and it also improves the aesthetics of the movement. Followers aim for that elegant turnout, and by focusing on closing the heels first, you not only create a visually pleasing position but also generate the energy needed for a clean, powerful, and stable back pivot. This gives your partner a clear, tight axis to guide further movements.
Often, dancers rush through back pivots without fully stabilizing the supporting leg, which leads to poor alignment. Instead, focus on pivoting the supporting leg first, then reaching for the back pivot. This keeps everything in alignment and provides a stable base.
Now, let’s talk about geometry. If your partner gets too far away, you lose leverage, and the back pivot becomes difficult to lead. Leaders, you need to surround your partner to give them a clear sense of where you want them to go. Think of it as creating a triangle, with the follower’s axis at the point of the triangle and your two feet on either side. This setup gives stability to the movement and helps guide the back pivot smoothly.
Additionally, we’ve found that initiating the back ocho earlier in the movement, compared to a forward ocho, helps create a more powerful and connected experience. It’s about giving your partner early notice of what’s happening. Instead of waiting until they’ve completely settled onto their foot, you want to catch them as soon as they arrive, allowing for a smooth and immediate pivot.
At the end of the pivot, it’s important to ensure that both partners have settled into the new direction before moving on. This creates clarity and smooth transitions in the dance.
We hope you enjoyed this bonus tip on how to make your back pivots more powerful and stable. If you’re looking for more ways to practice, improve, and learn Argentine Tango, join us at GameOfTango.com, where you can access these lessons for free. We hope to see you on the dance floor. Until then, abrazos!
Range of Possibilities Argentine Tango Walk - Part 1 https://youtu.be/jpyisu_4z1g What if you had a Tango tool that didn’t just add another step or figure to your bag of tricks, but instead gave you creativity and expressiveness to everything you already know? By exploring a range of possibilities, you could expand both your capabilities and creativity. Sounds intriguing, right?
Hola friends! Argen and Tina here with the Game of Argentine Tango. Welcome to our latest series, where we explore the concept of a range of possibilities—how every step or pattern you already know has endless variations to help you get more creative and improve your overall movement. In this first video of the series, we’re starting with the heart of Tango: the walk. By exploring the full range of possibilities within the walk, we aim to make it more stable, balanced, comfortable with a partner, and yes, even more creative. Let’s dive in!
First, let’s explore two core aspects of walking in Tango: size and speed. We often dance with medium-sized steps in straight time, landing on the heavy beats. That’s the middle of our range. But what happens if we slow it down? You can walk on just the 1s and 5s, really drawing out your movements to half-time. On the flip side, we can speed it up, dancing on every single beat to create a fast, energetic feel. You can also combine these with varying step sizes, like slow, small steps or large, quick movements. These combinations open up a lot of room for creativity within the walk itself.
Now, let’s get into some finer details to make these ideas work in practice. The first thing to consider is elevation. Your elevation can support faster or slower steps and make everything more comfortable and clearer. Lowering your elevation helps you extend your legs for bigger, more dramatic movements, while lifting onto the balls of your feet can limit your range but makes faster, smaller steps more manageable. You want to adjust your elevation during the movement’s wind-up to support what comes next—whether you’re sinking low or rising high.
Another element to consider is the tone of your body. How compressed or relaxed are you in the embrace and through your legs? If you’re going for a long, slow movement, you’ll want a more relaxed tone to expand your body. For shorter, quicker movements, you’ll need to tighten up, gather your body, and increase your tone for a fast response. Each type of movement requires a different level of tone and energy to feel stable and clear with your partner.
As you experiment with different speeds and sizes, you’ll find that some combinations feel naturally good, like long and slow or short and fast. But don’t be afraid to mix it up—try crisscrossing ranges for interesting, dynamic movement. Imagine dancing short, slow steps when you have no room to move at a milonga, but the music is calling for something dramatic. It may seem counterintuitive, but stepping outside your comfort zone will teach you how to stay stable and manage energy even in unusual combinations.
We always recommend filming your practice sessions so you can assess your movement, stability, and creativity. By experimenting with different music, you can learn to identify which elements best match the mood of the song. Is the music fast and staccato or slow and melodic? You can even go against the music’s rhythm to create dynamic tension in your dance. The key is to work through the full range of possibilities to build stability and creativity.
So here’s your challenge: Once you’ve explored the full range in your walk, start mixing it up. Can you transition from a slow, long walk to a fast, double-time walk? Can you switch between different speeds and step sizes smoothly? Changes in speed and size are what make any movement more interesting and creative.
We hope you find this exploration helpful and that it inspires you to try new things in your Tango walk. Until next time—Abrazos!
Argentine Tango Walk - Part 2 https://youtu.be/RIxZSQX66HI Hola friends! Argen here to highlight some of the key elements we’ll explore in this video demonstration on walk geometry and the range of possibilities.
We begin in a typical inline position, and you’ll immediately notice an important concept we’ll revisit often: both in linear and circular movements, the leader’s feet frame the follower’s last step, forming a triangle—the most stable geometric figure. This triangle provides control and stability throughout the movement.
As we start circling around the hand side, notice that the outside foot steps and pivots while the inside foot collects to the outside. This action helps contain the circle. Pay attention to the step-pivot movement and the collection of the inside foot, forming that stable triangle with the feet once again.
Next, I move into an outside position in parallel system. Notice how the legs on the arm side are stepping together. In this position, the feet don’t collect as they pass each other, and the pivot is on the inside foot. Exploring inline position versus outside position, pivoting on the outside foot versus the inside foot, will help you discover what feels more stable or controlled.
Now, we switch back to an inline position. Relaxing the embrace a little bit gives Tina space to pivot into a perpendicular position facing the hand side. Tina steps forward in simple time while I take side steps in double time. This perpendicular position offers greater flexibility in stepping different sizes or tempos.
We play with a little pivot into a right outside position, followed by a calesita with Tina on the outside, and I become the center point. As Tina moves, you’ll notice that her feet also form a triangle with mine, whether we’re doing a forward or backward calesita, or even walking a small circle around a center point. This time, we’re in cross system, where the legs on the opposite side of the embrace step together. Cross system allows partners to come closer than in an outside position, offering more control and stability—something that makes close embrace so important in Argentine Tango.
We continue using the cross system in a circular walk around the arm side, then switch to a calesita with Tina on the inside and me walking around the outside. This position reinforces the importance of maintaining that triangle geometry for a well-balanced dance.
Now that you’ve seen a full range of possibilities when playing with geometry, let’s talk about some key ideas to keep in mind while you explore these different positions.
First, when discussing geometry, remember that it’s about stepping where it works best, allowing you to stay connected and flow into the next movement. Often, this means adjusting the embrace. For example, when stepping to the hand side, both partners need to let their arms and bodies slide to maintain the connection. Some followers tend to hold onto the close embrace tightly, but it’s important to give the embrace some breathing room when needed for more comfortable movement.
Another important point is when we’re powering the movement in a calesita. The traditional method has the leader powering the movement, but in a reverse calesita, the follower drives the movement. Whichever partner is powering, it’s important to maintain an equidistant path around the central partner. Imagine your partner is in the center of a hula hoop—you want to stay equidistant as you walk around it, neither stepping outside nor inside the hoop. This creates smooth, continuous motion.
When powering the movement backward, as Tina does in the reverse calesita, you need to fill out the arm side of the frame. Open up your lats and power into the embrace to keep the movement smooth and balanced.
Throughout this exploration, both partners should send their energy into the floor, maintaining a grounded, well-balanced connection.
To wrap things up, we’ve looked at walking in Tango as a range of possibilities. The walk is the foundation of our dance, with endless variations in size, speed, and geometry. These elements work together to make the walk—and every step—something special.
We encourage you to explore the full range, even in areas where you feel discomfort. Discomfort is simply a signal that your body needs more practice in that area. Try switching things up—if you’re comfortable on one side, practice on the opposite. Get creative with your walk, and watch your Tango skills flourish.
Until next time, we look forward to seeing you on the dance floor. Abrazos! Argentine Tango Pivots Pt 1 https://youtu.be/RWXQtDX9WGY Hola friends, join us as we explore the Range of Possibilities within the pivot today! In this series, we’re delving into how exploring the range of possibilities of a specific element can not only open up creativity but also inform us on how to make that element more beautiful and dynamic, not just within our personal comfort zone but across the full range of movement. If you’re registered for the free resources at GameOfTango.com, check out sections five and ten, where you’ll find specific exercises on pivots.
In this video, we’ll focus on three key ranges for pivots: the amount of rotation, the speed, and the geometry of movement. These elements are interconnected, and by exploring them, you can expand both your capabilities and creativity. Before we dive in, don’t forget to like and subscribe to support free Tango online!
Let’s get started by looking at the pivot. We’ll begin with very small micro pivots and work our way up to full calesitas (more than 360-degree turns). We start small with tiny pivots that can be used to turn corners, making little adjustments as you walk around the dance floor. These micro pivots help you navigate, redirect, and maintain alignment without losing balance or form.
In navigating tight spaces, these small movements are especially useful, and as you practice, you can focus on how to lead these subtle pivots using the upper body, specifically through the chest rotation, to guide your partner’s foot placement.
Now, let's talk about Ochos. These movements involve pivoting in both directions. One form, the Milonguero Ocho, involves very minimal pivoting, where the follower simply crosses their leg back without significant rotation. But we’re focusing on spiral, rotational pivots, beginning with 45-degree pivots in traveling ochos that move down the line of dance. Notice how the small internal spiral leads to subtle pivots as you move through the steps.
As always, we encourage you to try both directions—clockwise and counterclockwise—and also explore reversing roles, having the leader move backward while the follower does the ochos forward. The small, relaxed frame allows for these smaller pivots to occur smoothly, without adding extra tension in the embrace.
Moving up the range of possibilities, we explore 90-degree pivots. Known as *El Gato*, this movement involves a step with a pivot followed by an immediate weight change in place. You can experiment with these 90-degree pivots both linearly and in circular movements. As we increase the degree of rotation, we also need to dial up the tone in the frame to give clear signals to our partner. Play with the speed here—try them slow for elegance, then speed them up for more drama, adjusting the tone to match.
And now for the most iconic pivot, the 180-degree forward ocho. Starting from a Cruzada, we unwind into the classic figure-eight pattern of forward ochos. But this is where the fun really begins. We can play with geometry by having the leader walk backward while the follower performs forward ochos or moving into more complex positions where the leader steps across the follower’s path to create a follower sacada.
Next, let’s discuss opposition. While the leader usually moves in the same direction as the follower during forward ochos, the leader can also move in the opposite direction to create a dynamic, energetic feel. This opposition brings extra excitement to the movement and enhances the connection between partners.
As we move through these ranges, remember that the frame must expand and contract. If you keep the frame rigid, the movement will feel forced. A flexible embrace is key to executing these larger pivots.
When it comes to back ochos, they require more work from the follower. One common mistake is stepping out of the lane, especially when starting with a side step. To avoid stepping into someone else's space, adjust the angle to stay in your lane. Also, while back ochos are often used for traveling, they can be performed in place when space is tight, such as when a dancer in front of you has paused unexpectedly. Leaders can join the follower in the pivot to keep the movement connected and more comfortable.
One tip to make back ochos easier is for the follower to engage the arm side of the frame, using the leader’s side to power the movement. This helps create more energy and rotation, especially when the leader isn’t providing enough force.
Leaders, you can help by ensuring you’re stepping far enough to frame your partner’s heavy leg (the leg they’re standing on) so that you can leverage that position for a more effective pivot.
In summary, we’ve explored pivots from tiny micro movements to 180-degree rotations, examining how to make them smooth, stable, and creative. And in part two, we’ll dive into the larger, more exciting pivots—270, 360 degrees, and beyond. Don’t forget to click through to part two, and we’ll see you there!
Until then, abrazos!
Argentine Tango Pivots- Part 2 https://youtu.be/OaJEqiFfSCs
Hola friends! Let’s keep going! We’re moving beyond 180 degrees to 270 degrees and beyond. This is Episode 2 of our deep dive into the Range of Possibilities within the pivot. If you missed Episode 1, go back and check it out where we explore everything from micro pivots to the full 180 degrees. Now, let’s take it a step further!
We’ll start with the forward ocho, focusing on the hand side of the embrace. Notice how Argen rotates around me, and I complete the movement with a sacada onto Argen’s leg to finish the 270. That sacada is optional, just a fun addition—Argen is stepping back and leaving his leg there for me to navigate.
To set up this over-rotated ocho, we use a molinete. It’s a great way to lead into the forward ocho on the hand side, allowing us to flow into the movement smoothly. Now, let’s look at the arm side, or the closed side of the embrace. We can enter this with a mutual step, or try it in cross system. The molinete is also a useful entry here, rotating around the body to set up the movement.
Of course, we love to explore all ranges, so let's take a look at how we can over-rotate the back ocho as well. This movement can start from a neutral position, with Argen bringing me into a cross system, creating a nice fluid movement. For an extra touch, Argen adds a slight twist in his body, prompting me to continue rotating.
Heading to the arm side for the back ocho, we like to add a little lift to encourage embellishments like the leg cross. That small inhale from Argen signals me to cross my legs and prepare for the pivot, creating a smooth and elegant flow, perfect for a Vals feel.
What’s great about these back ochos is they can easily transition from any neutral position, making them adaptable to various moments in the dance. And of course, we can add some flair! Back sacadas are a great way to inject extra rotation and dynamic energy into the movement.
Now, let’s talk about adding flair once you’re already in the ocho. Starting with forward ochos, we can over-rotate into a boleo and back sacada, then follow it with a step-over colgada. For this to work, we must slide the embrace, keep a tight frame, and maintain the tone throughout the rotation. This keeps the energy contained and ensures that we don’t kick our partner during the transition.
Leaders, when transitioning from a more relaxed forward ocho to something with extra power, focus on framing your partner’s supporting leg and increasing the tone in the frame to signal that a powerful pivot is coming. As the follower rotates, make sure you’re holding the frame until the movement is complete.
For the step-over colgada, we lead from an open step into a front crossing movement, framing the partner’s feet and sliding the embrace to maintain connection. This creates a lovely flow and signals to the follower when the movement is over by relaxing the frame.
Next, we head into the full 360-degree pivot and beyond! This is the ultimate exploration of the pivot, featuring the calesita. We place the follower on a single leg, and the leader moves smoothly around, maintaining a tight rotation. Imagine your partner dancing inside a hula hoop. As the leader, you need to traverse the circumference of that hula hoop, avoiding stepping into the center or pulling too far away, which could disrupt your partner’s balance.
Maintaining a perpendicular position keeps the movement organized and stable. It’s important to remember to prepare for the pivot—sometimes we need a little momentum in the opposite direction before we can fully rotate.
Speaking of setting yourself up for success, head over to GameOfTango.com for more free explorations like this. Now that we’ve covered everything from micro pivots to 360-degree rotations, stay tuned for our next episode where we’ll explore the range of speed and geometry in the pivot. Until then, we’ll see you on the dance floor!
Abrazos!
Argentine Tango Pivots -Pt 3 https://youtu.be/h8dpMX9O4x8
Hola friends! Welcome to Part 3 of the *Range of Possibilities for Pivots*. In this episode, we’re diving into the realms of speed and geometry. If you haven’t yet checked out Parts 1 and 2, make sure you do that first. We’ve explored the full range of rotation, which closely ties into what we’ll cover today.
We know that small and fast movements tend to go together, while big and slow ones also pair nicely. But what exactly happens within the frame to make these movements effective? Let’s break it down.
Imagine we’re doing some nice, relaxed back ochos, but then the music picks up, and I want to shift to quick ochitos. How do I make that transition? It all comes down to increasing the tone within the frame. At the same time, we also raise our elevation. Together, this helps create a faster, more dynamic movement.
To slow things down again, we simply reverse the process. We relax the tone in the frame and lower our energy, encouraging longer leg lines and slow, dramatic ochos. Both speed and size are managed through this balance of tone and elevation.
Next, let’s talk about preparation, which ties into geometry. To create a back pivot, if I just take a straight side step, a newer dancer might think that’s an invitation for an open step to the hand side. But if I rotate my partner around me before that step, they’ll naturally flow into the back pivot. This creates the preparatory energy that we need to execute the pivot smoothly.
Geometry plays a huge role in pivots. By stepping around your partner, you form a supportive triangle, which keeps the movement stable and centered. This triangle is key, whether in forward ochos or back ochos. As a follower, it keeps me right in your center line, not too far outside where you’d have to overuse your arms to manage the pivot, and not too close where things feel tight.
So, if you feel like you’re working too hard to get your partner to pivot, focus on the geometry. Are you inviting them to step within your sphere of influence, or are you making them step too far out where you have to catch up?
Now, let's talk about provoking pivots. I can either stay still and let my partner do most of the work, or I can create more dynamic movement by stepping side-to-side in cross system. In cross system, my hand-side leg and my partner’s arm-side leg move together, and we can even go *contra*—where we move in opposite directions for an added burst of energy.
If you’re looking for some extra flair, switching to the *contra* position is a great way to amp up the energy. And for those up for a real challenge, try doing parallel pivots while rotating together. It’s not easy, but it’s a fun way to stretch your skills. Just be ready to open the embrace and keep your center aligned.
So, why explore all these different options? Not only will it allow you to better match the music, but it also adds creativity to your dance. As with everything in this *Range of Possibilities* series, we encourage you to *crisscross* the ranges. Don’t just stick with the easy pairings like fast and small or slow and big. Try creating something fast yet expansive, or small but slow and deliberate. It’s a great way to test your communication and control with your partner.
By exploring both ends of these ranges, you’ll expand your abilities and become better at adapting to different partners. We’ll be continuing this *Range of Possibilities* series, so stay tuned for more explorations. Until next time, *abrazos*!
Argentine Tango Molinete Part 1 https://youtu.be/46HUxlqzR8w Hola friends! Welcome to Episode 3 of our *Range of Possibilities* series, where we’ll be exploring the many ways to spice up your *molinete*. If you feel like your *molinete* looks the same every time, then this video is exactly what you need! Tina and Argen here with the Game of Argentine Tango, and we’re excited to help you explore the full range of this essential tango movement.
What is a *molinete*, you ask? Well, it’s Spanish for “windmill,” which perfectly describes the circular movement. It’s also known as the grapevine in ballroom dances. There’s even a story about sailors in the 1800s wrapping rope around masts, creating a similar pattern with their footwork: open step, back step, open step, forward step. So when your focus is on something centralized, your body naturally creates this windmill-like movement, keeping your *center-light* (your upper body) directed towards your partner.
Now, if you've been following our series, you know that we love to explore three main ranges: size, speed, and geometry. Let’s dive into each one, starting with *size*.
Should we begin with big or small, Argen?
I like starting small since it feels more rooted in Argentine tango’s origins. It also works well with close embrace.
Great point! So, when we dance a small *molinete* in close embrace, it requires more hip rotation from the follower. The key here is to stay connected and not pull away. See how I’m keeping my steps small, rotating tightly, and staying close to Argen, without opening up the frame. Everything remains compact.
Next, let’s explore a medium-sized *molinete*, which is what most people are familiar with. We open the frame a little more, giving space to embellish and rotate. Notice how the arms slide in and out as we rotate, which helps maintain balance and comfort.
Now for the large *molinete*, perfect for lyrical or *nuevo* tango. We’re opening up the frame even more, allowing bigger, more dramatic steps. And while we’re making larger movements, we want to maintain an even energy, ensuring that the size doesn’t slow us down or create imbalance.
Moving on to speed! As you know, we love playing with half-time, straight-time, and double-time rhythms in tango. Let’s begin with half-time:
So here we go, dancing slowly on counts 1 and 5. It might feel like you’re moving through molasses, but this is a great opportunity to work on control. It allows you to focus on arriving at each step with precision, using internal energy to keep the dance fluid even at a slower pace.
Straight-time is the most common rhythm for a *molinete*, dancing on 1, 3, 5, and 7. It’s perfect for marching-type music or anything steady and even.
And then there’s double-time, which works wonderfully with more energetic music. We’re stepping on every beat—1, 2, 3, 4, 5, 6, 7, 8—creating a lively, fast-paced *molinete*.
If you noticed, the size of our steps naturally adjusted to match the speed. This is a good reminder that size and speed are often linked, but don’t be afraid to mix things up! Try dancing small and fast or big and slow to see how it changes your experience.
Another fun rhythm to explore is *quick, quick, slow*, which works beautifully in *molinete*. For example, in the sequence of back, open, forward steps, you can create a rhythm like *quick, slow, slow* to add variety and musicality to your dance.
Now, let’s talk about geometry. One important concept in tango is the triangle that forms when your feet frame your partner's steps. This helps create stability and keeps the movement balanced. Whether you’re dancing forward ochos, back ochos, or a *molinete*, always aim to maintain that supportive triangle.
Speaking of pivots, another way to play with geometry is by exploring how to lead or provoke pivots. You can stand still and let your partner do most of the work, or you can engage in *contra* movements, where you and your partner move in opposite directions. This adds a fun dynamic and helps create more energy.
Finally, followers, remember that you can add your own musicality and embellishments during a *molinete*. While the leader establishes the speed and direction, once the *molinete* is underway, you have room to get creative and interpret the music in your own way.
As always, we encourage you to explore all ranges of possibilities—mixing sizes, speeds, and geometry to make your dance more varied, interesting, and dynamic. Stay curious and playful with your *molinete*!
We look forward to seeing you at the next part of this series. Until then, *abrazos*!
Argentine Tango Molinete Pt 2 https://youtu.be/UpVV-rQKCjM Hola friends!
Welcome to Episode 3 of our *Range of Possibility* series, where we explore the possibilities within the *molinete*. If you feel like your *molinete* looks the same every time, this video is for you! Tina and Argen here with the Game of Argentine Tango, excited to help you break out of the routine and explore a range of *molinete* options.
Gee! ometry—Argen, that’s clever! We’re talking shapes on the floor today. There are simpler, easier ways of dancing *molinete*, and there are more challenging ways. Let’s start simple!
When I was first learning the *molinete*, we were introduced to the “Open Left Turn,” which is basically a *molinete* danced in a rectangle. It starts with an open step, then back, open, and forward. My goal here is to maintain that rectangle shape around my partner. This is a great exercise for beginners because it helps them get comfortable with the pattern.
For leaders, it’s about pivoting around the hand-side leg, keeping your center light focused on your partner. This open version is a great way to introduce the *molinete* because the open shape allows for easy walking and understanding the pattern.
Moving on to the next level, we have the circular *molinete*. My focus is to maintain a nice, even circle around my partner. You can take tiny steps or bigger steps depending on the flow of the dance, but the circle remains consistent.
The leaders have it easy here because you’re simply maintaining the circle. The challenge comes when we introduce different shapes. For example, we can create a *molinete* in the shape of a triangle.
We’ve marked the floor with tape to help visualize the triangle. This is a fantastic solo practice tool because it pushes you to add more rotation to your steps. Instead of the gentle turns of a circle, you now need to rotate over 270 degrees for each step to hit the points of the triangle.
Followers, you’ll notice that these large steps create bigger windows of opportunity for your leader to play with *sacadas* or *barridas*. And leaders, this is your chance to explore fun footplay. If you want to add interesting footwork by crossing paths with your partner, the triangle creates space for these playful movements.
While maintaining the triangle, followers should focus on larger steps, which will help open up those windows. The key is to collect and rotate fully before each step, ensuring you’re keeping the movement tight and controlled.
Leaders, this triangle shape is not just about the follower. You’ll notice how it opens up space for footwork and changes the dynamic of the dance. Just be careful not to look down at the floor! Use your peripheral vision to feel the shape beneath you.
We’ve mostly focused on turning to the hand side, but don’t forget, you can reverse directions. You can dance your *molinete* both clockwise and counterclockwise—or as we like to call it, to the hand side or the arm side.
And here’s where it gets really fun: You can reverse the direction of the *molinete* at any point. For example, if we’re moving through a front cross, we can simply reverse it into a back cross, mixing up the movement. This adds a dynamic flow to your dance, keeping it fresh and interesting.
If you find yourself always reversing your *molinete* at the same step, try switching it up! You have three options: open step, forward cross, or back cross. Each one can be the point where you reverse the direction of the *molinete*.
Another layer to this is replacing steps entirely. You can swap out a back step for a forward step or even string together multiple forward or back steps, which still count as part of your *molinete*. This allows you to play with the structure and create unique variations.
Here’s a bonus move for you: a half *molinete* to quickly change direction. This is a great way to navigate the floor, especially when you need to redirect quickly in tight spaces.
Remember, geometry isn’t just about the shapes we’re creating—it’s also about the orientation of the dance. Knowing where to exit, how to position yourself, and how to maintain balance is essential for keeping the dance fluid and connected.
Now that you’ve explored the full range of possibilities within the *molinete*, we encourage you to visit our *El Basico con Sabor* series, where we show you how to get into a *molinete* from any step of the 8-count basic. This will give you endless options for starting your *molinete*, and after this video, you’ve learned how to make it look different each time.
We’re excited to see the creative ways you incorporate these ideas into your dance. Join us at GameOfTango.com, where we continue these explorations online, and we look forward to seeing you on the dance floor.
Until then, *abrazos*!
Argentine Tango Embrace (How to Adapt Your Tango Embrace for More Connection and Creativity) https://youtu.be/nj-XeBnkrkE Hola friends! And welcome to our *Range of Possibilities* series! In this episode, we’ll explore the full range of possibilities within the embrace. We’re going to kick things off by demonstrating how your frame can change and adapt through different styles of tango, so enjoy this quick demonstration, and we’ll dive into the details right after.
It’s always so nice when your partner wants to start off in a close, close embrace, looking for that deep connection. But if we relax the embrace just a little bit, we still have plenty of room for maneuvering. And when we’re dancing salon figures or Nuevo, we might want even more space to let those legs fly.
That was so much fun, Tina! I enjoyed it too, Argen!
Now, let’s take a closer look at the technique behind those embraces and what makes each one work.
I always like to start by considering the hand embrace, which sets the tone for everything. To get a feel for this, try embracing your own hand. It’s a way to communicate that you’re committed to your partner and fully present in the dance. We want nice, flat palms, fully connecting—not just grabbing fingers, which feels unstable and unbalanced.
It’s important to commit to the connection right from the beginning. Followers, avoid just gripping your partner’s fingers and hanging on. We want equal partnership here—this creates that feeling of mutual support and connection.
Now, let’s talk about the close embrace, or Milonguero style, where our center lights (solar plexus) come together. This is the main connection in the dance, despite what it looks like with all the hugging arms. The real communication happens through this central point, where we can feel each other’s movement and energy.
Speaking of arms, followers, be mindful of your shoulder positioning in a close embrace. Don’t compromise your posture by raising or contorting your shoulder to wrap around your partner, especially if there’s a height difference. Instead, engage your lats, and let your arm wrap naturally while keeping your body aligned.
Leaders, remember that in a close embrace, your lead is amplified. You’re so close to your partner that even small movements will feel large to them. So, be mindful of how much energy you’re using—less is more in this style. Experiment with how little you can lead while still communicating clearly. It will help your partner feel more comfortable.
Next, let’s move to the Salon embrace, also known as an open embrace, but with all four arms still engaged. This style gives us space between the solar plexus, allowing room for more leg movement, which is perfect for salon figures or when trying out new patterns. This space acts as a buffer, helping you explore movements before closing it up.
In this style, the lead needs to be a bit larger since the distance between you and your partner is greater. Make sure your movements are clear and intentional, and be aware of the geometry of the dance to frame your partner effectively. Keep the structure of your body intact so that any movement you make from the floor is communicated clearly to your partner.
We also like to think of the embrace as having an energy link between the palms. Both partners should think about closing that energy loop between their hands, which helps maintain the tone of the embrace and keeps both dancers actively engaged in shaping the frame.
Finally, we have the Nuevo embrace, which is much more open and elastic. In this frame, the main connection is often behind the elbow, allowing for a lot of creative movement. This gives the leader the ability to pull or push the elbow to bring the follower forward or guide them in different directions.
Nuevo is about elasticity and larger, more dynamic movements, so both dancers need to be hyper-aware of their center light. The center light is crucial in this style since there’s a lot of distance between partners. This “louder” communication is essential for keeping the dance connected despite the space between you.
Leaders, don’t forget—whether you’re dancing Salon or Nuevo—it’s easy to let your center light drift away from your partner because of the space. Always be conscious of maintaining that connection no matter how far apart you are.
We’ve explored how the embrace can range from a close Milonguero style to a more open and playful Nuevo embrace. Each style offers unique opportunities for creative expression in your dance, and by experimenting with these, you’ll bring more texture and color to your tango.
If you’ve been nervous about trying Milonguero or you’ve never opened up your embrace as far as Nuevo, now’s the time to give it a try! You’ll be surprised how much it can enhance your dance and expand your range.
Thanks for joining us! We look forward to seeing you on the dance floor. Until then, *abrazos*!
Mastering Floorcraft For students https://youtu.be/qSqmzs_C7iM Hola, friends! Argen and Tina here with the Game of Argentine Tango. Today, we’re talking about floorcraft, a critical aspect of tango, especially if you’re new to Milongas. Argentine tango is incredibly popular worldwide, and because of that, we need a way to organize ourselves on the dance floor to ensure everyone has enough space to dance safely and comfortably. This system of organization not only keeps us from kicking or bumping into others but also shows respect for other dancers’ space. While it might not be the flashiest part of tango, good floorcraft is essential for an enjoyable dance experience.
Let’s start with the basics. In any traveling dance, including tango, we move counterclockwise around the floor, organizing ourselves into lanes. But unlike other dances, in Argentine tango, we don’t use the lanes to pass other dancers. Once we’re in our lane, we stay between the couple in front of us and the couple behind us for the entire tanda. When stepping onto the floor at a Milonga, it’s important to shift focus away from patterns or specific movements and instead be aware of your partner and everyone else on the dance floor.
While floorcraft is mostly the leader’s responsibility, followers shouldn’t just zone out and think, “They’ve got this.” Followers play a role too, especially when the leader’s view is blocked. A little tap or signal can help alert the leader to someone behind them, sharing the responsibility for awareness on the floor. With a tall partner like me, Tina helps a lot since I can’t always see everything behind us.
So, how do we navigate the dance floor, especially when part of our view is blocked, and we need to stay within our lane? The first key is awareness—knowing how much space you’re taking up. In most cases, it’s about two bodies’ width, or about three to four feet in a lane. Leaders need to constantly check the space around them, turning and glancing to assess where to go next, how much room they have, and if anyone is approaching from behind.
Circular movements are especially useful when the couple in front of you has stopped. In some dance styles, you might pass them, but in tango, you stay put. One of the tricks is directing your center light (your body’s core focus) toward the outside edge of your lane. Many tango figures naturally shift sideways, like the first step of the eight-count basic, which moves toward the center of the floor. If you’re not aware of this, you can easily drift into what we call the “black hole” of the center. By keeping your center light angled toward the outside, you ensure your movements stay contained within your lane.
If a figure or movement pulls you toward the center, you can redirect your center light back to the outside edge or step back to reposition yourself. The goal is always to work your way back toward the edge, respecting the space and allowing everyone room to dance.
One important tip for leaders is to start angling yourself toward the outside edge of the lane as soon as you get into the embrace. Too often, leaders set up straight along the line of dance, which already sets you up for drifting toward the center. A slight 45-degree angle can make a huge difference in keeping your space within the lane.
Respect and camaraderie on the dance floor are essential. We all want space to express ourselves and connect with the music. Early in the evening, when the floor is less crowded, it’s okay to take up more space and dance big. But as the Milonga fills up, it’s important to tone it down and adjust to the available space, allowing others to do the same.
For those who like to take up a lot of space, arriving early at the Milonga gives you the room to do so without crowding others. Or, if you’re a night owl, you can stay late when the floor clears out.
If you’re new to tango and just starting to navigate the dance floor, a good rule of thumb is that newer dancers often stay closer to the inside lane, near the center of the floor. This gives you more room to practice and move deliberately. The more advanced dancers, who enjoy being seen, typically take up the outside lane, where they’re in full view of the seated observers.
At larger festivals, where the floor can get very crowded, it’s thoughtful to move toward the inside lanes as the room fills up. This helps spread dancers out evenly, making it easier for everyone to find their space.
When the floor gets crowded and there’s no room for big movements, tango becomes a more intimate experience. This closeness can create a different, more connected kind of dance, which is just as special.
Floorcraft is about broadening your awareness on the dance floor, not just for yourself and your partner, but for everyone. By practicing good floorcraft, you’ll ensure that tango is a beautiful and enjoyable experience for all the tangueros and tangueras out there.
We look forward to seeing you on the dance floor! Until then, Abrazos!
For teachers https://youtu.be/tZ2m6sE3A7U Hola, friends! Welcome to this session about floorcraft, specifically directed toward teachers. Argen and Tina here with some advice on how to help your dancers practice and enjoy good floorcraft. Everyone likes to complain about floorcraft—it's like traffic on the road. We all want our space. But as teachers, what can we do to make it easier for our students to learn good floorcraft?
One of the most powerful lessons we can give is by the example we set, even more than the words we say. Students often follow what they see us do. So, let's ensure we model it correctly. For instance, if we’re in a group class or at a practica and people are moving around nicely in their lanes, but we stop them right in the middle of the lane to give feedback, we’re unintentionally teaching them the wrong thing. We’re teaching them that it’s okay to block the lane and that other couples should dance around us. Instead, if we need to give feedback, we should bring the couple out of the line of dance and toward the center of the room, so the dance flow can continue uninterrupted.
And as the teacher, if you occupy the center of the room during instruction, it naturally encourages the students to move toward the outside, reinforcing the idea that the edge is where the line of dance flows. This subtle positioning helps them understand where they should be during the dance.
Another key point is in how we demonstrate movements. It’s helpful to establish what the line of dance is, even during demonstrations. We often suggest moving towards the edge of the room, so students can see what the line of dance looks like in context. If you’re in the middle of the room, make it clear where the line of dance is. This helps them visually understand how to respect the flow, even when learning new figures.
Also, are we actively teaching our students how to maintain their lane? Many tango figures naturally move us to the side, and we have to reorient back into our lane. Teaching students how to do this, and emphasizing the importance of always returning to their lane, is a crucial part of good floorcraft. We’ve created a video on floorcraft for navigators, which offers useful techniques to help dancers stay oriented in their lane. You might find it helpful to incorporate those techniques into your teaching.
So, let’s not just talk about floorcraft—let’s embody it in our actions and provide our students with the tools they need to make it easy and natural to stay in their lane.
Until next time, Abrazos!
FAQs 1. Is Argentine tango easy to learn? https://youtu.be/qzw3Dh-hVKY Hola, friends! Argen and Tina here with the Game of Argentine Tango. We’re answering one of the most common questions we get from our students: “Is Argentine Tango easy to learn?”
It’s a bit of a loaded question! It's like asking if any skill is easy to learn. At the beginning level, most skills are fairly easy to pick up. Music, sports, dance—Argentine Tango is no different. At its essence, it's actually a very simple dance. Sure, if you want to do it well, it takes time to develop those skills, and there are certainly factors that can make it more challenging.
One challenge is the intimate nature of the embrace. Many people feel uncomfortable being so close to another person, so part of learning tango is developing comfort with that closeness.
Also, there's often a misconception about Argentine Tango, where people come in expecting the flashy moves they’ve seen on shows like *Dancing with the Stars.* These complicated sequences aren't really in the essence of tango. The core of Argentine Tango is improvisation, and the steps are quite basic, but they are used in a very creative, musical way.
The improvisational nature of tango can make it seem more daunting compared to other partner dances, which often have a “basic step” to fall back on. In tango, you’re constantly making decisions, which can be overwhelming for beginners. However, that same improvisation is also what makes the dance so expressive and connected.
You brought up musicality, which is another factor that can seem intimidating. Tango music is rich and layered, almost like a complex orchestral jazz. For those unfamiliar, it can be confusing at first to hear all those layers and not know how to respond. But, just like learning any musical instrument, tango dancers start with the basics, practice, and eventually connect deeply with the music.
So, while tango may seem difficult at first glance, it's actually very accessible at its core. Don’t be daunted by what seems like the complexity of the dance. It’s really about starting simple and growing from there.
If you want to see a method that builds from the foundational level, step by step, in a musically and partner-connected way, you can check out our *free* resource at GameOfTango.com. It’s a great way to learn, improve, and practice Argentine Tango from the comfort of your own home.
We hope to see you on the dance floor soon. Until then, Abrazos!
2. How long does it take to learn to dance Argentine Tango? https://youtu.be/6te3Dtqn8Iw Hola, friends! Argen and Tina here with the Game of Tango, ready to answer one of the common questions we get from our students: “How long does it take to learn Argentine Tango?”
This is another loaded question, and our students sure love to ask the tough ones! The answer really depends on motivation and the approach you take to learning. Are you diving in asking for the most complicated gancho or back sacada? Or are you focusing on learning how to connect with your partner, with the music, and with the other dancers on the floor? Mastering the basics and working with simple steps in a rich, varied way will get you further than jumping into advanced figures too soon.
Like any skill—whether it’s playing a musical instrument or learning a new language—Argentine Tango requires time and layers of information to sink down into muscle memory. In our opinion, it generally takes about three to six months to get a basic, comfortable level of tango. This is enough time for you to feel confident getting out on the dance floor, navigating the space, and dancing without making too many mistakes.
That initial comfort in the dance usually comes around the three to six-month mark. After that, it took me about a year before I really felt like I could be creative, musical, and fully responsive to my partner. And I came from a ballroom dance background, so for new dancers, it might take even longer to feel truly expressive with the dance.
I agree with that timeframe. But it’s also important to note that your progress depends a lot on how much you practice. If you’re only attending one group class a week, your progress might be slower, and that’s perfectly okay. But if you’re practicing more regularly, you’ll see improvement faster. Solo work, for example, can really boost your growth, even though tango is a partner dance. The more you refine your individual skills, the better you'll be able to bring your best to the partnership.
And if you have a *practica* in your community, it’s a great way to practice intentionally with partners. You can search online or on social media to find tango events in your area. The more opportunities you create to practice your tango, the faster you’ll improve.
Learning tango is like learning a new language. After a year or so, you might feel comfortable having a casual conversation, but if you want to go deeper, you’ll need to invest more time and effort. It’s the same with Argentine Tango.
If you’re looking for ways to boost your tango practice, check out GameOfTango.com. We have an entire syllabus designed to help you build your tango skills from the ground up, and it’s all *free*! You can work on your tango in the comfort of your own home, at your own pace.
We look forward to seeing your progress. Until next time, Abrazos!
3. What are the basic steps of Argentine tango? https://youtu.be/1lCJGP-ybho Hola, friends! Argen and Tina here with the Game of Argentine Tango. As tango instructors, we often get asked the same questions, so we thought we’d do a series answering the most popular ones. Today’s question is, “What are the basic steps of Argentine Tango?”
This is a great question because, at first glance, tango can seem very complex, but at its essence, it's actually quite simple. It all boils down to just two fundamental movements.
The first is a change of weight. These changes can happen in place, over a distance, or as temporary weight shifts. It’s simply transferring your weight from one foot to the other.
The second fundamental movement is the pivot. A pivot is when you are standing on one leg and rotating on that leg to change direction. The key here is to stay balanced on the weighted leg throughout the rotation. You want to stay on that leg until the pivot is complete, without prematurely shifting your weight to the other leg.
When it comes to weight changes over distance, we can break them down into two types of steps: open steps and crossing steps. An open step involves stepping either forward or sideways, not crossing your legs. A crossing step involves either crossing in front of your body or behind. For example, I can cross in front with a forward crossing step or behind myself with a back crossing step. These crossing steps are just weight changes, combined with a pivot.
If you pay attention while watching any Argentine Tango performance, you’ll see that every movement can be broken down into either a weight change or a pivot. That's all it is—really as simple as that.
And if you're excited to explore Argentine Tango more, whether you’re just starting out or looking to improve, we invite you to join us at GameOfTango.com. There, you can learn, improve, and practice your tango, and the best part is, it’s all free! We take you from these two basic movements all the way through everything you need to know to feel confident on the Milonga floor.
This isn't a sales pitch for other courses—it’s our gift to the tango community because we’ve gained so much from it ourselves.
We'll continue answering more popular questions in future episodes, and we look forward to seeing you then. Oh, and just to add a poetic touch—tango can be beautifully described as simply a walk and an embrace.
So, let's walk on out! Abrazos!
4. Can You Dance Argentine Tango Solo? https://youtu.be/MJoUslbGPVw Hola, friends! Argen and Tina here with the Game of Argentine Tango. Today, we’re answering one of the most popular questions we get from students and online: “Can one person dance Argentine tango?”
At first glance, it seems like the answer would be no, since it’s a partner dance. But actually, you don’t necessarily need a partner to practice and improve. In fact, dancing alone is something both of us love to do!
Dancing on your own is a great way to prepare for dancing with a partner. It allows you to work through more complicated figures or timing issues without the added challenge of coordinating with someone else. And, importantly, it helps you improve your own movements.
To be at your best in a partnership, it’s crucial to understand what’s happening in your own body. Solo practice gives you the chance to focus on things like your stability, grounding, and connection to the floor. You can also fine-tune your technique, footwork, and even develop your musicality—how you feel the music and how you want to express it through your dance.
There are so many little embellishments and styling choices you can add to tango, but unless you practice them on your own, it can be hard to bring them out when you're actually dancing with a partner at a Milonga.
I love the way Tina explained that. There’s also a common misconception in tango that leading is about making the follower do something. But that’s not the best way to think about it. In a great tango, both partners are independent agents. The leader moves with clarity and intention, and the follower responds—both are actively creating something beautiful together, in sync with the music and space.
So, yes, you can definitely dance Argentine tango on your own, and we’d argue that it’s actually a key element to becoming a better partner dancer.
If you search for Argentine tango videos on YouTube, you’ll often see both followers and leaders dancing solo, showcasing their musicality, creativity, and artistry. It’s a great reminder that tango isn’t just about what happens between two people—it’s about your individual expression too.
And if you’re looking for ways to practice your tango solo, even if you don’t have a studio, instructor, or partner available, head over to GameOfTango.com. We’ve built an entire syllabus designed for you to learn, improve, and practice tango by yourself—for free! You can work on your skills from the comfort of your own home.
We look forward to seeing you on the dance floor. Until then, Abrazos!
5. How to Learn Argentine Tango for beginners https://youtu.be/-KnizKw6daw Hola friends! Argen and Tina here with the Game of Tango, answering some common questions we get from our students and online. Today’s question is: how can beginners start learning tango?
Starting this amazing journey can seem daunting, but we have some guidance on how to get started. First off, if you're new to the tango scene, Facebook is a great place to begin. Many local tango events are listed there, so search for tango along with your community or nearby cities, and you'll likely find classes, practicas, or milongas—the social dance events.
Learning Argentine tango is similar to learning any other skill. You need instruction, practice, application, and feedback. So, beginning with some beginner classes is a great way to start. If you can, connect with a private instructor who can give you personalized feedback, which is incredibly valuable.
Then, practice what you’re learning. Group classes are great for that, but if you have access to a practica, it’s even better. Practicas are low-stress environments specifically for practicing your moves, unlike milongas, which are more social events where you're expected to dance more fluidly. Even if you don’t feel ready to dance at your first milonga, go anyway! It’s a wonderful way to see how the dance looks in a social setting, meet the community, and learn the customs and traditions.
We always recommend a multi-layered approach to learning. Just attending a single group class each week won’t help you progress as quickly. A combination of private lessons, group classes, practicas, and even online resources can create a rich, well-rounded foundation for understanding and enjoying the dance.
Speaking of online resources, there’s plenty of material available, from demonstrations of figures to entire courses like the one we offer at GameOfTango.com, for free! It’s a great supplement if you already have a teacher or are attending group classes, but it also stresses the importance of practice.
If you don’t practice between your lessons, you risk resetting back to zero each time you return. Practicing in between classes helps reinforce what you’ve learned, making you feel more confident and ready to progress in the next session. Without practice, you end up backtracking, reviewing the same material, and delaying your progress.
Now, you might wonder, how do you get feedback when using online courses? Good question! We invite you to record yourself dancing and post the video to our site. We’ll give you personalized feedback. Plus, we’ve designed our courses with built-in experiments and experiences, so you can self-assess your progress.
If you're just starting your Argentine tango journey, welcome! It’s a rewarding path, but like any skill, it requires regular effort to retain and build upon what you’ve learned. Keep at it, practice often, and soon enough, you’ll find yourself more comfortable and confident on the dance floor.
We look forward to seeing you out there. Until then, Abrazos! 6. What makes Argentine Tango so unique? https://youtu.be/d3DqyGQ_psU Hola, friends! Argen and Tina here with the Game of Argentine Tango, and today we're answering one of the most common questions we get: “What makes Argentine tango so unique?”
This is a great question, because while tango may seem visually complicated with a lot going on, at its essence, it’s actually quite simple. What makes Argentine tango stand out from other social dances is the structure. In many partner dances—like ballroom, country western, or salsa—there’s a basic step that dancers always return to, something repetitive and reliable. But in Argentine tango, the basic step is the walk.
Now, that might sound boring at first, but the incredible thing about tango is how much you can do simply by walking and incorporating pivots. These two elements together—walking and pivoting—create endless possibilities, and this flexibility is what makes Argentine tango different from other dance forms.
Another aspect that makes Argentine tango unique, especially for those with a ballroom background, is how it combines both smooth and rhythm techniques. In most dance styles, you have a separate technique for smooth dances and a completely different one for rhythm dances. But in Argentine tango, we get to seamlessly blend both smooth and rhythm styles, making it an exciting dance to learn and explore.
We can keep it simple with basic steps like walking and pivots, or we can add complexity by intertwining our legs and playing with different elements. And speaking of intertwining legs, that’s something pretty unique to tango too—the amount of interplay between the feet and legs is not something you see in most other dances, where you’re generally trying to avoid your partner’s feet!
One more feature of Argentine tango is something called the “cross system.” Unlike in most dances where both sets of legs move together, in tango, we can move our legs in diagonally opposite ways. This creates visually interesting patterns and dynamics on the dance floor.
Another thing that really sets Argentine tango apart is the environment of the social dance, the Milonga. If you're new to tango, we recommend checking out the codes of conduct at a Milonga because they’re quite different from other social dances like country or west coast swing. The structure of how we invite others to dance and how we accept invitations is very unique.
One of these traditions is the *tanda*, which is a set of three or four songs that are grouped together and danced with the same partner. This allows for deeper connection and exploration with your partner. In tango, because of the complexity and richness of the dance, it might take a song or two to really sync up with your partner. By the end of the *tanda*, you’ll often feel much more connected and in tune with one another, which is a special aspect of the dance.
So, rather than walking away from a single dance feeling like it wasn’t your best, you have multiple opportunities to really understand your partner's style and energy. And when everything clicks right from the start, you get to enjoy that amazing connection for several songs in a row, making the experience even more rewarding.
We hope this gives you a better sense of what makes Argentine tango so unique. It’s an incredible, nuanced dance, and we hope it excites you as much as it excites us. Until then, Abrazos! 7. How many types of Argentine Tango are there? https://youtu.be/BtPR3lIzYNk Hola, friends! Argen and Tina here with the Game of Argentine Tango, and we are answering some of the most common questions that we get asked either from our students or from people online. Today's question is, “How many types of Argentine Tango are there?”
This is a great question, and there are different styles, or flavors, even within Argentine tango. Let's break it down.
First, there’s *Ballroom Tango*, which was an effort to codify the dance, break down the figures, and give people sequences they could learn and repeat in a ballroom setting where you have plenty of space to move around.
Then, we have *Argentine Tango*, which itself can be divided into three distinct dances. These are rooted in the music they are danced to: - The basic *Argentine Tango*, which is the foundation and is danced to traditional Argentine tango music. - The *Vals*, or waltz rhythm, which has a flowing, circular quality and is often danced with a lighter, more lyrical feeling. - And *Milonga*, which can be a bit confusing as it refers to both a style of music and a dance that is faster and more rhythmical. Additionally, *Milonga* is also the name of the social dance event where tango is danced. We really love that word—*Milonga*!
The amazing thing is that if you learn Argentine tango, you’re actually learning three dances for the effort of one. While there are some stylistic and timing adjustments when switching between tango, vals, and milonga, they all share the same core movements and techniques.
It’s also worth mentioning that even within Argentine tango, there are different styles, like *Nuevo* tango. This style is often danced to more modern music, in a more open embrace, and it emphasizes rhythm and showy figures. *Nuevo* tango is particularly appealing to dancers from other styles like West Coast Swing, because of its dynamic, energetic nature.
There’s so much to explore and master within Argentine tango, which is one of the reasons why we love it so much.
Until we see you on the Milonga dance floor, we send you Abrazos! 8. How to Practice Argentine Tango Solo Hola, friends! Argen and Tina here with the Game of Argentine Tango, and we’re taking a moment to answer one of the most common questions we get from our students and online: “How can I practice tango alone?”
We laugh because we have lots of thoughts on this! One of the biggest reasons we developed the Game of Argentine Tango, which you can find at GameOfTango.com (for free!), was to help people continue learning and practicing tango, even when they don’t have a partner. During the pandemic, we saw this pent-up demand from the tango community. People couldn’t dance together, and they were asking, “What can I do?”
So, we created a comprehensive course with a year’s worth of lessons: 8 hours of video and 110 bite-sized lessons. The lessons include explorations and experiences designed to help you practice on your own, with guidance on how to assess yourself while dancing. The beauty of it is that it’s meant to be done at home using everyday things like countertops, walls, doorways, and couches to aid in your practice.
But in a broader sense, how can you practice tango alone beyond just a course?
One way is to simply put on some tango music and let your body move to it. Explore what the music tells you to do in that moment. The great thing about practicing alone is that you don’t have to worry about mistakes. If something doesn’t feel right, just try again. No one’s judging you!
You can even dance with what we call your “perfect partner”—the air! They never make mistakes, and they won’t complain if something doesn’t go perfectly. It’s a great way to feel free and experiment with movement.
Believe it or not, for partner dance, solo work is incredibly important. You can practice both to music and without it. We would hope that anyone who loves music and dancing would enjoy moving to music, even if it's just for themselves. Play tango music in the background at home, and when you can, take a moment to dance. Even when you’re walking through a parking lot or grocery store, you can practice your tango walk. Standing at the kitchen sink is a great time to work on stability or try out some adornos!
Finding ways to integrate tango into your everyday life is key. Repetition is the secret to making steady progress. Whether you’re doing something as simple as walking, or more intentional solo drills, incorporating tango practice into your routine will bring results over time.
That famous “10,000 hours to mastery” might seem daunting, but it’s amazing how much progress you can make when you weave practice into your daily life. So, how do you practice tango alone? Look for opportunities to do it wherever you are.
We invite you to join us at GameOfTango.com, where we provide lots of ways to practice tango solo. It’s just a matter of finding moments in your day to incorporate tango into your life.
We hope to see you there! Until then, Abrazos! 9. Why is Argentine Tango So Popular? https://youtu.be/m2S71SPMY_A Hola, friends! Argen & Tina here with the Game of Argentine Tango. We're taking a moment to answer some of the most popular and common questions that we get asked by students or people online through our videos.
Today's question is: “Why is Argentine tango so popular?”
It is very popular. If you're new to the community, you might be surprised to find just how widespread this dance is. Argentine tango is danced worldwide, and in most major cities, there are opportunities to dance almost every night of the week.
Why do you think it's become so popular?
I think it's so approachable. You can start tango in a very simple way, and it's such a rich sensory experience—not only in terms of the dancing and movement but also the music and the close embrace with a partner. Plus, you can keep growing in your dance skills throughout your life, always learning something new.
Yes, and I think the broad appeal across different ages contributes to its popularity. Like you said, you can start tango at a relatively young age, but what's great is that you never really “age out” of it. Argentine tango is something people can continue to do throughout their lives. It's physically accessible at any stage of life. I think that long-term aspect of tango builds a sense of community and belonging, which keeps people coming back.
Another reason is its versatility. Most people see Argentine tango danced traditionally to tango music, but the core elements of tango allow you to dance to almost any kind of music. So if you're skilled in Argentine tango, there’s no dance floor where you can’t get out there and express yourself through the music.
Exactly. Popular music, jazz, orchestral music, and of course, Argentine tango music—all these styles can be fun to dance to, and tango works with just about any tempo or rhythm.
Yes, and that flexibility is unique to Argentine tango. Many other social dances are tied mainly to their specific music genres, but tango can cross over to almost any type of music.
You also touched on something else: the environment. Going to a milonga is a very different experience compared to other social dances like country-western or west coast swing. Tango has a special ambiance. We care about creating a mood—there are beautiful shoes, elegant outfits, the lighting is soft, and people bring wine to share. It’s more than just dancing; it’s a community gathering. That atmosphere keeps people coming back.
It really becomes more than a hobby—it’s a healthy activity that offers both physical movement and emotional connection with other dancers, all while having a lot of fun.
Absolutely. And if you're interested in learning tango or improving your skills before stepping onto the milonga dance floor, you can join us at GameOfTango.com. We’ll take you from the basics all the way to confidently dancing at the milonga—all for free. For free! Yes, for free! Until then, Abrazos! 10. What is a Milonga? https://youtu.be/zMsVi3mh7e0 Hola, friends! Argen & Tina here with the Game of Argentine Tango.
Today, we are answering some of the questions we get from our students and online. What's today's question?
Today's question is a great one: *What is a Milonga?*
This is an important one to understand! The term “Milonga” can be a little confusing because it's used in three different ways. Primarily, it refers to a social tango dance party, where dancers gather to enjoy the music and dance together. However, “Milonga” can also refer to a specific style of tango music that has a more rhythmical, high-energy beat, and the style of dancing that accompanies it.
So, if you see an event advertised as a Milonga, it’s referring to the social dance. We have plenty of resources on how to prepare for the milonga and what to expect, so be sure to check those out too.
We hope to see you out on the dance floor at the next milonga! Until then, abrazos! 11. Is Tango an Intimate Dance? https://youtu.be/5DyxpBrB2-c Hola, friends! Argen & Tina here with the Game of Argentine Tango.
Today we’re answering a popular question that often comes from our students or gets posted online: “Is tango an intimate dance?”
The answer is yes, but not necessarily in the way you might think.
While the embrace in Argentine tango often looks intimate—there’s frequently chest-to-chest contact in traditional Argentine tango—it’s important to understand that the embrace is just one aspect of the dance. In fact, the embrace can be opened up and expanded, allowing space between partners as needed for different movements. The beauty of Argentine tango is that it respects each person’s comfort level, including how much space they prefer in the embrace.
As a beginner, you’re more likely to dance with some space between you and your partner. It’s completely normal to need that buffer while learning the dance. Dancing in a full close embrace requires skill and understanding, which takes time to develop. By the time you’re comfortable dancing in a close embrace, you’ll have a better sense of the respect and empowerment that exists between partners in tango.
For followers, there’s a lot of autonomy in deciding how close the embrace should be. You control your axis, where your body is positioned, and what feels comfortable for you. There’s a great deal of respect for those boundaries, and that’s part of what makes tango feel intimate without being overbearing.
In contrast to some other partner dances, like ballroom, which can be more of a performance for an audience, Argentine tango is often more inwardly focused. Yes, you can certainly “show off” if you want to, but the real connection is between the couple, the music, and the ronda, the line of dancers moving together. Tango is intimate in its focus on that personal connection.
If you’re looking for deeper connections in your life—whether to music, a partner, or a community—we highly recommend Argentine tango. Beneath the appearance of intimacy, you’ll find a dance built on respect, connection, and the joy of shared movement.
We look forward to seeing you out on the dance floor. Until then, abrazos! 12. What Makes a Good Tango Dancer? https://youtu.be/EDgO7pOdmsA Hola, friends! Argen & Tina here with the Game of Argentine Tango.
Today we’re answering a question we often get from students or online: “What makes a good tango dancer?” This is a great question with so many layers to explore.
At the heart of what makes a good tango dancer, and a good partner dancer in general, is respect and understanding. Both dancers are working toward the same goal: to express the music together. When you approach the dance with the mindset that it's about creating art with another person, everything else falls into place.
Of course, there's also the technical side. One essential element is being grounded or stable. Tango is all about having a strong connection to the floor, which helps both you and your partner stay balanced. When you’re stable, it’s easier for your partner to maintain their balance too, and that’s especially important in such an intimate dance.
Solo work is another crucial part of becoming a good tango dancer. By working on your own skills—your balance, your movements—you bring your best self to the partnership. Many people think they need to practice with a partner to improve, but solo work can actually speed up your progress. If you can execute movements smoothly and stay grounded on your own, it makes the partnership stronger.
There’s also the element of musicality. This can be challenging for a lot of dancers at first, especially if they’re not familiar with Argentine tango music. It’s a rich, complex genre with decades of history, and the more you listen to it, the more you’ll be able to feel and express the music in your dancing. Musicality is key to turning basic steps into an emotional and dynamic experience.
And beyond technical and musical skills, let’s not forget about the importance of just being a pleasant person to dance with. Being kind, patient, and respectful in a social dance setting can make all the difference in creating a positive experience for your partner.
Ultimately, becoming a good tango dancer is a combination of many factors: respect, stability, musicality, and personality. The best part is that you can work on all of these aspects even without a partner. Solo practice plays a big role in becoming a better dancer.
If you’re looking for ways to improve your tango, we invite you to join us at GameOfTango.com. We offer a free course where you can learn, practice, and refine your tango skills from the comfort of your home.
We look forward to helping you become the best tango dancer you can be. Until then, Abrazos! 13. How to Get Asked to Dance if I’m New? https://youtu.be/xaDVW7_PeUQ Hola, friends! Argen & Tina here with the Game of Argentine Tango.
Today, we’re answering one of the most popular questions we get from students and online: “How do I get asked to dance if I’m new?”
This can apply if you’re new to the community, new to Argentine tango, or even if you’re an experienced dancer going through a lull. Not getting asked to dance can be frustrating, but there are some key things to be aware of that might help.
First, are you looking like you’re ready and eager to dance? If you’re deeply engaged in a conversation with someone or seem distracted, people will likely be hesitant to interrupt, which is understandable. We might not realize it, but our body language can send signals that we’re unavailable or not looking to dance.
Also, for those of us who are older or just not paying attention, our resting facial expressions can sometimes look unhappy or uninviting. So a little trick is to keep a gentle smile, a “Mona Lisa” smile, to show that we’re approachable and happy to be there. This subtle change can make a big difference in how others perceive us.
Another tip is to sit “with energy.” Instead of lounging back in your chair, sit on the edge, showing that you’re alert and ready. Sending your gaze out to the room, making eye contact, and offering a smile is key. If you’re doing the cabeceo, do it with confidence.
Leaders, as Argen does, you can walk around the dance floor already moving to the music, showing that you’re connected and ready to dance. This shows your enthusiasm and openness to getting on the floor.
If you’re brand new to the community, introduce yourself to the milonga organizer, the person at the door, or the DJ. Let them know you’re new and eager to meet people and dance. This can go a long way in getting noticed and making connections. It’s also helpful to introduce yourself to the people sitting around you. Ask them for advice: “I’m new, who would you recommend as a great dance partner for me?”
We know it can be intimidating to walk into a new milonga, but your body language, energy, and openness can make all the difference.
We hope this gives you the confidence to get out there and enjoy your next milonga. Until we see you on the dance floor, abrazos! 14. How do I get better at Argentine tango? https://youtu.be/-2-vSXl5v58 Hola, friends! Argen & Tina here with the Game of Argentine Tango.
Today, we’re answering one of the most popular questions we get from students and online: “How do I get better at Argentine tango?”
The answer is simple: work, work, and more work. There are no shortcuts or secrets. Like any skill worth mastering, tango takes time and regular practice.
There are ways to make it easier by incorporating tango into your daily life. Argentine tango can become a way of moving through life, so that everything you do can help improve your dance. For example, in our Game of Argentine Tango, which you can access for free at GameOfTango.com, we share tips like how to practice dissociation by simply setting down groceries or moving around with intention. It’s about fitting tango into your routine.
At the core, we have to accept that mastering tango is a long-term journey. We live in a world where instant gratification is the norm, but tango isn’t something you can rush. It takes over a year, at the very least, to start feeling really comfortable on the dance floor.
Our goal in tango is to reach a flow state, where everything just happens naturally—where we’re no longer thinking about every single step, posture, or movement, but instead, we’re just dancing. This comes from consistent practice, feedback, and building muscle memory. That’s when tango becomes fun and fulfilling.
To truly improve, you need to show up for tango regularly. This means attending group classes, taking private lessons, going to practicas, and hitting the milongas—even if they seem intimidating. You won’t see much progress if you only take one class a week without doing any practice in between. Solo work is key to making progress, so that when you return to the next class, you’re ready to build on what you’ve learned instead of just reviewing.
If you don’t have access to a tango community, don’t worry! You can always join us at GameOfTango.com, where we offer free lessons and practice routines to help you improve your tango from the comfort of your own home.
Remember, consistency is key. Even 10 to 15 minutes a day can make a huge difference. Keep at it, and soon, you’ll be ready to hit the milonga dance floor with confidence.
Until then, we send you abrazos! 15. What is a Tanda? https://youtu.be/DLEr9educ-U Hola, friends! Argen & Tina here with the Game of Argentine Tango, and today we are answering one of the most common questions we get from students and online: *What is a Tanda?*
This can be a little confusing for people new to Argentine tango, especially if you're coming from other dance styles. In most other social dances, you typically dance one song with a partner, and then you find a new partner for the next song. But in tango, because the dance is so intricate and rewarding, we dance multiple songs in a row with the same partner. This group of songs is called a *tanda.*
It’s traditional to stay with the same partner for the entire tanda, which usually consists of three or four songs. Between tandas, there’s something called the *cortina*, which translates to “curtain.” The cortina is a brief interlude, often about a minute long, where completely different music is played, giving everyone a chance to mingle and look for their next partner.
A key point about the tanda is that the music within it will usually be very similar, often from the same orchestra or era. This consistency helps dancers get into a groove with a particular style. If you love a certain kind of tango music, you know you’re in for several songs that fit your mood. On the flip side, if you’re still working on your *vals* or *milonga* skills, and you hear the tanda start with that style, you know that all the songs in that tanda will be of that type. That might be your moment to step off the floor and take a break!
Most tango tandas are made up of four songs, but vals and milonga tandas are usually three songs. Sometimes, depending on the DJ or if there’s an imbalance of leaders and followers, the DJ may create shorter tandas of two or three songs to encourage more partner rotation.
We hope this clears things up for you before your next milonga. Until we see you on the dance floor, *Abrazos!*
Easy Entrances to Moves they Love Introduction https://youtu.be/4-eQPN9xVUY Hola, friends! Argen and Tina here with the Game of Argentine Tango.
We've got a question for you. Have you ever gone to a workshop and learned a really, really cool move, but it's buried inside a long pattern that takes you half the length of the floor just to get to the good part? Right! When are you going to have space in a typical milonga for all that? Exactly.
It seems like such a waste to lose the fun element—the one that really makes everybody light up—just because we can't get into it or follow the full pattern exactly. So we have a solution for you.
We’re excited to introduce a new series: *Easy Entries into the Moves They Love.* In this series, we’ll be focusing on all those fun, flashy moves that make Argentine tango exciting—like boleos, sacadas, ganchos, and more. But instead of burying them in long patterns, we’ll show you how to get straight to the good stuff with easy entries!
Before we dive into those individual cool moves, there are a couple of things to keep in mind that will help you seize these opportunities. One important idea is recognizing that with every step you take, you have three options: you can continue, you can pause (always a good one), or you can do something different. It’s about being aware that, at any moment, you’re not locked into a pattern—you can break free and make a choice with every step.
Just realizing that freedom alone can spark your creativity! And the easy part? We've identified that all our movements come down to just three main steps. That’s it—three steps.
If you’re a fan of ours, you probably know these steps already. For those new to us, we have the open step, which is anytime our feet are open without crossing the legs. We also have the front crossing step, where we cross our legs forward, and the back crossing step, where we cross the legs behind. What’s cool is that we can mix and match these steps, with one partner doing something different than the other, creating even more opportunities for variation.
Within these three simple steps, there are endless possibilities.
A key idea is to think one step ahead. When we introduce these cool moves, you’ll practice recognizing the setup required before executing them. Argen calls these “prerequisites,” and they are what create the right conditions for the move. Once you can identify the setup, those fun moves will be right at your fingertips.
Stay tuned—next, we’re starting with the *parada*, and we’ve got a whole lineup of exciting moves planned. We look forward to sharing it with you.
Until then, Abrazos! Paradas https://youtu.be/aXVAhbA_77M Hola, friends! Argen and Tina here with the Game of Argentine Tango, and welcome to our “Cool Moves on Demand” series. Today, we're kicking things off with the *parada/pasada*. Parada, meaning “stop” in Spanish, is where we take a moment in the dance, allowing the follower to *pasada*, or pass over, with an opportunity for embellishments.
A simple way to start understanding this is from an open step. We create an open step, and then initiate the parada on either leg. It can even get fancy, with the option to cross the leg. There are many simple variations of this, but the main idea is to stop the partner.
Now, you might think that stopping your partner is all about the foot. But in reality, the secret to a good parada is in the body, the energy, and the frame. You can even ground the movement by lowering into the floor. While it may look like the foot is doing all the work, it's really the lead through the body that creates the stop.
At the moment of the parada, the follower's light leg becomes free for embellishments. These can be personal and as creative as you like. You can tap, swirl, or even do a leg crawl on yourself or your partner. There are many embellishment videos online for more ideas. When embellishing, it’s important for the follower to indicate when they're done by coming to a pause, signaling to the leader that it’s time for the *pasada* to continue.
One key point for leaders: make sure to give the follower space for their embellishments. If you stay too upright, they won’t have room to move. So, send your hips back to create space for their light leg to play.
In this series, we’re exploring how to get into cool moves from any of the fundamental steps: open, front crossing, and back crossing. We've shown the open step already, but there's another fun way to incorporate a parada within the *ocho cortado*. Starting with a rebote (rebound), instead of completing the ocho cortado with a cross, you can invite your partner to collect and do a *pasada*.
If you're walking around the floor, another option is a surprise parada. You can quickly double step to sandwich your partner’s feet, stopping them, and then invite them to pass over. Again, remember, it's not the feet physically stopping the movement; it’s the energy and lead that signal the stop before you even touch the foot.
Moving to the front crossing step, the most common parada occurs during a forward *ocho* going to the arm side. You’ll often see this as the leader rotates through, and the follower steps over. This can happen within ochos or molinetes, and it’s important to direct the step towards you to keep your partner within your sphere of influence.
You can also create a parada from a front crossing step on the hand side of the embrace. This requires quite a bit of upper body rotation to keep the center lights of both partners aligned.
Finally, we have the back cross step. This often puts you in the same configuration as the front cross but can be a bit easier to create. One fun variation is a reverse sandwich, where the leader brings the foot up and crosses behind, adding a playful element to the move.
By looking for opportunities to incorporate paradas, you can open up a whole new world of playful footwork and embellishments in your dance. We look forward to seeing the creative ways you explore and use the parada and pasada.
A great way to practice this is by putting on a song and using as many paradas as possible throughout it. This will bring out your creativity and help you master the movement.
Until next time, Abrazos! Barridas https://youtu.be/5nOYSLopshU Hola, friends! Argen and Tina here with the Game of Argentine Tango, and welcome to our series, “Cool Moves and How We Can Create the Opportunities for Them.” In this episode, we are looking at *Barrida*, which is the appearance of one partner sweeping the leg of the other partner.
There are a few key things that make our *barridas* comfortable and successful, and we'll also explore different ways and opportunities to create the ability to perform a *barrida*. But first, let's talk about how to make a *barrida* comfortable.
There are a few special considerations to keep in mind because the *barrida* can be somewhat challenging. First of all, you need to have a lot of stability—the ability to be on one leg while moving your other leg out of your space. You can make it easier on yourself by keeping your foot on the floor to help with stability. Later, you can lift the foot for special effects.
Second, you need to anticipate when your partner's foot will become available, both in terms of it being weightless and in positioning. Here’s a great tip: not only for tango but for life—you can find opportunities best if you create them.
Lastly, you need to be able to dissociate, meaning what’s happening in your body can be independent. You might lead your partner one way with your upper body while your lower body does something different.
Those are the three key things: stability, anticipating the move, and dissociating within your body. If you're looking for ways to improve your stability and flexibility, head over to GameOfTango.com, where we have a bunch of free exercises and videos that can help. But for now, let’s jump into the *barrida*.
For followers, the main thing to remember is that once a *barrida* is initiated, it’s your job to maintain contact with your partner’s foot. Keep a little pressure or tension so your partner can feel where your foot is. This contact is crucial, especially in follower-created *barridas*.
Let’s look at some demonstrations.
Perhaps the simplest *barrida* is from a back *ocho*. You can create a *parada*, then have your partner step over, and then sweep. Notice if I sweep back, that’s the follower sweeping the leader’s leg, but I’m still leading it with the rotation of my upper body.
Another variation is sweeping one way, stepping over, and sweeping the other leg. You can practice sweeping multiple times in place, which is great for practicing stability and the interplay between the two feet.
Now, let's explore opportunities for the *barrida*.
A simple one is from the back *ocho*. After the *parada*, you can sweep the leg in one direction or create a reverse sweep for variety. These multiple sweeps are great for adding flair.
Next, we have a walking *barrida*. While walking in a cross system, you can sweep your partner’s leg as you continue the walk. For an extra challenge, you can do it on the fly by stepping together in cross system.
Another opportunity is from a *rebote* or rebound, where you can stop and sweep in either direction. The key is in grounding the energy through the frame, not just relying on the feet.
Let’s talk about timing, especially for the open step. You can perform a *barrida* by starting with a side step and then sweeping as your partner moves. You can finish this with a *parada* and step over. It's important to maintain contact between the feet to create a smooth, successful *barrida*.
Another great opportunity to practice all three steps—open, front cross, and back cross—is within the *molinete*. The circular motion of the *molinete* provides perfect moments to ground the energy and stop for the *barrida*.
So, whether you’re exploring a back cross, an open step, or a front cross, the *molinete* can incorporate them all.
In summary, we’ve looked at different ways to explore the *barrida*: from the back *ocho*, while walking, from a *rebote*, and within the *molinete*. Each offers a fun way to add embellishment and creativity to your dance.
We hope you had fun exploring all the different opportunities for creating the *barrida*, and we look forward to seeing you in the next one.
Until then, abrazos! Boleo https://youtu.be/2vVcCPrOGUo Hola, friends! Argen and Tina here with the Game of Argentine Tango and our series “Easy Entries to Moves They Love.” Today, we’re focusing on a move we truly love: the *boleo*.
The *boleo* gets its name from an Argentine tool that gauchos, or cowboys, used to trip cattle by swinging it around and wrapping it around the legs. This swirling, wrapping energy is what we aim to create through the embrace, sending that motion down through the follower’s legs.
There are three different styles or types of *boleos*, and we like to organize them because it provides clarity when thinking about how to approach them. We’re going to focus on the natural openings for the *boleo*, which correspond to the three fundamental steps: the open step, the front crossing step, and the back crossing step.
We’ll start with the long *boleo*, which naturally arises from *ochos*, covering both forward and back crossing steps. Anytime the follower comes to their axis in a forward or back *ocho*, we can create a forward or back *boleo*. The long *boleo* occurs when we allow the leg to travel a longer distance, almost up to 360 degrees. You can even combine several *boleos*, moving from front to back or back to front in a playful, flowing motion.
There are also plenty of opportunities to create *boleos* within the *molinete*. Every other step in the *molinete* offers a back, open, or forward step, and the forward crossing step presents a great opportunity to frame your partner and provoke the *boleo*. The *cambio de frente* also provides chances for *boleos* in both the forward and back crossing steps, depending on the direction you're leading.
Moving on to the medium *boleo*, this is most easily accessed from an open step. Think of the *salida* in the basic eight-count. From a side step (open step), we can create a medium *boleo*. This type of *boleo* covers about half the distance of the long *boleo*, forming a half-circle with the follower’s leg. The open step, therefore, lends itself well to the medium *boleo*.
We can also find open steps in the *molinete*. As you track your partner’s movements in the *molinete*, you can catch an open step and use it to initiate the *boleo*. Argen likes to point out that the *ocho cortado* is another great place for a medium *boleo*, where we can switch from back *boleos* to forward *boleos* during the step pattern.
Finally, the short *boleo* is a quick, snappy move that comes from a back crossing step. This *boleo* happens swiftly and is often seen in walking patterns. A great way to practice this is by simply walking and creating the back crossing step for the follower, leading directly into a short *boleo*. The short *boleo* can also be done on both sides, giving plenty of room for creativity.
Before we demonstrate all these *boleos*, let's talk about the key elements that make them successful. First, leaders need to allow the follower to fully arrive on their axis over the heavy leg and keep them there without pushing or pulling. Second, recognizing what setup is needed for each type of *boleo* will help you create the right environment for them.
Remember, *boleos* can be dangerous in a crowded *milonga*, so be mindful of your surroundings. We don't want to show off a big *boleo* only to end up hurting other dancers. In crowded situations, it's important for both leaders and followers to be aware of the space and adapt the move to keep it low to the floor if necessary.
Followers, it’s crucial to collect your feet under your body before executing a *boleo*. This avoids wide, sweeping movements that could catch other dancers.
We hope you have fun exploring all these easy entries into *boleos*. We’d love to see how you practice and create your own opportunities for this fun move. Feel free to drop us a response or visit us at GameOfTango.com. You can also find us on all your favorite platforms. We look forward to seeing how you master the *boleo*!
Until then, abrazos! Patada https://youtu.be/ewWERS1TlKY Hola, friends! Argen & Tina here with the Game of Argentine Tango, and today we’re focusing on easy entries into moves they love. The idea behind this series is to avoid long, complicated sequences and instead, have ready entrances to interesting figures so we can use them whenever they fit the music, space, or mood.
Today’s move that we’re loving is the *Patada*, which is Spanish for kick! This move is short and sweet, a forward kick that adds a stylish flair to your dance. If we were to do a backward kick, it would turn into a *gancho* or *boleo*, but the *Patada* is all about the forward motion.
There are two main ways to use the *Patada*: the leader can either do the kick themselves during the *molinete*, or the leader can lead the follower into it. Let’s start with the leader’s *Patada* during the *molinete*.
One important point for leaders is to keep the kick low to the ground for obvious safety reasons, and with a pointed toe. The key is being quick in and out with the kick since the partner is moving past. In this case, you’re at a right angle to your partner when leading the *Patada*.
When looking for opportunities for the leader to add the *Patada*, the *molinete* is the easiest place. The follower’s footwork creates natural openings where the leader can seize the chance for a quick kick, adding a playful embellishment when it fits the music.
Leaders, make sure your kicks are subtle and timed to musical accents—you don’t need to kick repeatedly. This move gives you the chance to express your own musicality, rather than always leaving embellishments to the follower.
Followers can help create space for the leader’s *Patada* by taking nice, long, strong strides and not collecting too quickly. If you collect too early, you’ll lose that window of opportunity for the leader to kick.
Now, what about leading the follower into a *Patada*? One common way is from a forward *ocho*. The leader blocks the continuation of the step, creating the opportunity for the follower to kick.
One important thing to remember, leaders, is to keep the follower stable on their axis. The lead should not pull the follower off balance. Instead, it should feel like you’re giving the follower the impulse to step forward, but stopping just before, which encourages the leg to kick out.
For safety, it’s important to create the right angle and space to ensure the follower doesn’t accidentally kick the leader. You can practice this with a simple exercise by starting with some distance between you and your partner, palm to palm, and practicing the intention and stop that leads to the *Patada*. Gradually, you can bring it closer for more precision.
In addition to the forward *ocho*, you can also lead the *Patada* from a sideways step in a promenade position. Again, the leader should create a triangle shape to keep the follower’s leg from kicking too close.
So, the forward *ocho* provides a natural entry for leading the follower into the *Patada*, while the *molinete* offers multiple opportunities for the leader to add this embellishment themselves.
We hope you enjoy exploring all the opportunities to add the *Patada* into your dancing. Try making a video of yourself to see how it looks and make adjustments to refine the movement. We’d love to see how you creatively incorporate the *Patada*, so feel free to share your progress with us. Leg Wrap https://youtu.be/y22pKqHM_T8 Hola, friends! Argen & Tina here with the Game of Argentine Tango, and we're continuing our series, “Easy Entries to Moves they Love.” The move we're focusing on today is the leg wrap.
What do we mean by a leg wrap? Let’s take a look at it first. It resembles the sacada, and we have another module on the sacada, but the key difference lies in the placement. With a sacada, I'm going toward the leg that’s leaving. In a leg wrap, I’m going under the hip, right in the middle, so that when my partner encounters my leg, their leg is free to hook around and slide off of it.
As the name suggests, the leg wraps around and then, as I like to say, slides off. The reason it slides off and continues is the continued motion of the upper body. If you look closely, Argen is leading this move through the upper body with lots of dissociation. As he continues that movement, my leg has nowhere to go but to release and unwind. Getting comfortable with the flexibility of the upper body is key to creating this move.
While we were playing with this, we realized there’s really only one way to enter into the leg wrap, and that's through the open step. Unlike the sacada, where we can use the open, front cross, or back cross, with the leg wrap, we're working solely off the open step. However, open steps happen more often than we realize, so this video will focus on identifying those open steps and how we can use them to create a leg wrap.
Even from a simple walk, with any step, I can redirect the next step across my path for the leg wrap. Notice how deep Argen goes for this leg wrap. Unlike a sacada, where a shallow connection works, for the leg wrap, we need a deeper connection, almost knee-pit to knee-pit.
Another fun move is the cambio de frente, which has several opportunities because it includes open steps. It’s an unexpected place to insert a leg wrap, which can surprise your partner in a delightful way. Similarly, the ocho cortado provides another easy entry—just before the cross, you can insert the leg wrap.
Now, a little tip for leaders: if your follower is very “sticky” and doesn’t release from the leg wrap easily, a little knee pop backward can help them release. It’s a great way to unstick a leg wrap if it gets a little too stuck.
The salida is another simple and early place to create a leg wrap. You can even do it right from the start. If you’re dancing to a tango song with a slow, lyrical opening, and no one has started moving yet on the dance floor, this is a beautiful opportunity to create something musical and expressive without traveling far.
What’s important to remember is that this leg wrap works off the follower's open step as they come across the leader’s body, creating a perpendicular position. It gives the leader a nice window to step into and create the wrap. You can even add a rotational element, like a calecita, to make it flow even more beautifully.
This is one of those moves that leaders often overlook because they don’t realize how many opportunities they have to create it. The leg wrap comes from such a basic open step, yet it can turn into something exciting and enjoyable for your partner.
We encourage you to play around with leg wraps, have fun, and experiment. If you have new ideas or variations, head over to GameOfTango.com, leave a comment, or upload a video. We’d love to see what you come up with because we love to talk about tango. Feel free to reach out with any questions or advice—let’s keep sharing and learning together.
Until we meet on the dance floor, Abrazos! Displacement https://youtu.be/7_kDDPMl7j8 Hola, friends! Argen & Tina here with the Game of Argentine Tango.
Today, we are excited to bring you our latest episode of *Easy Entries to Moves they Love.* And the move we’re loving today is displacements. Displacements are fun little embellishments that can be added in quite a few places, and today we’ll be exploring how to find those opportunities.
The basic idea is that one partner is moving into the space of the other partner and displacing their leg.
Quick demonstration: in a back crossing step, I step through, and my partner's leg is displaced. We could either continue in that direction or maintain the axis and reverse the rotation.
The prerequisite movement we’re looking for to create displacements is a back crossing step, as Argen just showed. Over-rotating the back crossing step and bringing your partner closer to your side will help position them correctly.
We’re often aiming for a right-angle position where we bring our partner close to us, rather than reaching, which can disturb the axis. Bring your partner close, step in vertically, and you’re set.
Anytime your partner is in back ochos or you’re creating a back crossing step, you have the opportunity to finish that off with a displacement.
And displacements aren’t just for leaders! Followers can displace the leader’s leg too. One fun example is when you’re walking in an outside position. The leader can step across the follower’s path, creating a surprise displacement.
Followers, don’t be afraid to move into legs that seem to be in the way. If you’re led into a forward movement and there’s a leg in your path, just go through it! Trust that your partner has unweighted their leg, making it free to move.
When creating the displacement, aim for contact higher on the leg, closer to the quad or hamstring, rather than lower on the leg. We always want to make contact either above or below the knee—never directly at the knee.
This movement can also be a fun embellishment to add into a *cadena* or chain, where partners alternate back crossing steps. Whoever is doing the back crossing step provides the opportunity for displacement.
As you saw in our example, we alternated displacements back and forth. You can keep the movement going or just do a couple of steps and move on to something else.
Look for opportunities in your rotational or circular movements to create these displacements. They can be done to either side, with either leg, and the reaction is often just a simple cross at the ankles, preparing for the next movement.
We hope you have fun playing with displacements and discovering creative ways to incorporate them into your dance. Send us a video or reach out on social media—we’d love to see what you’re doing with your dance partner.
Until then, abrazos! Hover https://youtu.be/sZXFKoN6V0Y Hola, friends! Argen & Tina here with the Game of Argentine Tango.
Welcome to this session of Easy Entries into Moves they Love. We’re excited to share a move that’s simple yet versatile: the hover. Today’s episode is extra special because I’m celebrating being back in my regular shoes after three months of recovery from foot surgery! It feels great to be back on the floor.
So, what’s the hover all about? The hover is both a beautiful move in itself and a linking move that connects to other fun moves like boleos, volcadas, and colgadas. It’s a great way to respond to the music, take a pause, and transition into something new and exciting.
What do we mean by hover? In essence, it’s a moment where both partners seem to hang in space together. Typically, it’s from an open step, but it could also come from a forward or backward step. It’s a pause that feels suspended in mid-air, allowing the couple to connect before continuing their dance.
One key aspect of the hover is the communication between partners during the pause. It’s easy to create the hover by decreasing the energy as you arrive on the step, but the challenge lies in staying connected once you're there. Both partners need to signal when they’re ready to move again by re-energizing the frame and the body to continue the dance.
The hover can either be a pause to savor a musical moment or the beginning of a rotational movement that leads into something bigger. The leader's role here is to allow the follower to complete the rotation before moving on. A common mistake is rushing the rotation, but it’s essential to let the movement fully develop through the hips and feet before transitioning.
Another key element is keeping a constant distance around the axis of your partner’s balance. This is especially important when using the hover as a lead-in to other moves like boleos. A hover can also be used as a preparation for moves like volcadas, where the leader gently tests the follower’s axis before moving into an off-axis position.
If you want to practice this, a good exercise is to use the hover to lead into a boleo. From the hover, you can rebound into a boleo and even reverse the direction afterward. It’s a great way to check if your partner is available for embellishments and fun movements.
You can also use the hover to prepare for larger movements, like taking the follower off their axis for a volcada. The hover serves as a calibration, making sure the follower is stable before leading them into a dramatic off-axis move.
A word of caution: some followers might interpret the hover as an automatic signal for a volcada. To avoid this, the leader should first ground the movement by lowering the energy before leading into the volcada. Grounding the hover helps the couple stay connected and balanced.
The hover is a fantastic move to add drama, create quiet intimate moments, or prepare for something big. It’s simple but powerful when done musically and with connection to your partner.
If you're looking for more ways to learn or improve your tango, check out GameOfTango.com where we offer free lessons, explorations, and practice opportunities. Until we see you on the dance floor, Abrazos! Gancho https://youtu.be/jCdBzw2CGwI Hola, friends! Argen & Tina here with the Game of Argentine Tango.
We are back with another episode of *Easy Entries into the Moves They'll Love*, and today's move is the *gancho*, or “hook” in Spanish, where one leg hooks around the partner's leg. Ganchos are really fun embellishments that you can sprinkle throughout your dance, and today we’re going to show you how to access them from all three of the main tango steps: the open step, front crossing step, and back crossing step.
First, let’s talk about what makes a gancho successful. It’s all about the geometry: positioning your partner close enough so your legs can reach each other, while keeping a perpendicular alignment. This allows one person to create the forward or backward motion necessary for the gancho, while the other partner provides the leg to hook on. Soft knees from the person receiving the gancho are also key—this creates a more comfortable space for the hook.
Another important point is that ganchos are often used as sharp, rhythmic embellishments, hitting the music with a quick “boom” moment. But they can also be more lyrical, depending on how you want to interpret the music. We encourage you to explore both sides of this range.
Let's start with the easiest entry, the open step. From an open step that’s curved around your partner, you can insert your knee for the gancho, then rebound back to where you started. Ganchos usually have that rebound quality, so after the hook, you'll return to your original position. The open step offers lots of opportunities for this, such as during a salida or within the molinete.
Next up are the back crossing steps, like those in back ochos. Bring your partner close, get perpendicular, and lead the gancho from either side. Remember to keep the motion grounded and avoid kicking—drag the leg along the floor for a controlled gancho. Look for back crossing steps in your molinete or back ochos to create this move.
Finally, we have the front crossing step, which introduces the possibility of a leader gancho. Yes, leaders can gancho, too! From a forward ocho or crossing step, leaders can create a gancho by stepping into their partner’s space. You can even combine leader and follower ganchos for a dynamic back-and-forth.
Throughout your dance, you’ll find plenty of opportunities for ganchos by recognizing these open, front crossing, and back crossing steps. The molinete, for example, offers all three types of steps in succession, giving you endless options for inserting a gancho when it fits the music.
As with any tango embellishment, moderation is key. You don’t want to overload your dance with ganchos, but practicing them in a focused way—by saturating a song with ganchos—can help you learn to identify opportunities naturally in your dancing.
If you’re excited to explore this further, join us at GameOfTango.com, where we offer an entire course of these kinds of explorations—absolutely free. It’s our gift to the tango community.
We look forward to seeing you in the next video. Until then, Abrazos! Sacada https://youtu.be/UvftnVJTuAM Hola, friends! Argen & Tina here with the Game of Argentine Tango. Today, we're excited to bring you the latest edition of *Easy Entrances to Moves They Love,* and the move we're diving into is the *sacada*, which means “to take out.”
Now, we hope it’s not like takeout food! In tango, the sacada refers to taking out another person's leg with your own, and we're going to explore how to create easy entrances into this fun and elegant move.
Let’s begin by understanding what we mean by a sacada. For example, imagine we're in a salida. In parallel system, I can send you forward, then step across your path to take your place. The sacada occurs when one person's leg steps into the space where the other person's leg was, creating a smooth, intersecting movement.
The key element of the sacada is that we move in cross directions. You can use a front crossing step or a back crossing step, and both partners have the opportunity to perform a sacada. It works in both parallel and cross systems.
Now, let's walk through some of these options. From parallel system, off of the follower's open step, you can create a sacada. The same goes for the front crossing step, and also the back crossing step.
If you find yourself in cross system, the same opportunities arise. The important thing is to recognize these moments in any of the basic steps—open, front crossing, and back crossing—and take advantage of them to create a sacada. This awareness is the key.
For leaders, this means paying attention to when your partner's leg is free, and moving into that space. But, it’s not just for leaders! Followers, you can also create sacadas, taking advantage of the space the leader gives you. When you understand the possibilities, you’ll start to notice opportunities all the time.
It's all about creating space for your partner to step into. For example, a follower can do a sacada on the leader by being guided into the leader's space. The leader steps out of the way, creating an opening for the follower to step through. It’s tricky but fun!
Now, let's discuss an advanced move: a follower's back sacada. If the leader over-rotates the back ocho, the follower can step into the leader’s space and perform a sacada on the leader's free leg. This takes a bit more practice but can be a delightful addition to your dance.
When practicing sacadas, it’s essential to take care of your partner. You want to ensure that the leg you're stepping towards is unweighted. If the leg still has weight on it, stepping into it could cause injury. To avoid this, aim for the calf or thigh level, and avoid hitting at knee height. Make sure that the leader gets the follower entirely over their axis before attempting the sacada.
For followers, the movement should feel natural. The sacada should happen without needing to consciously anticipate it. The leader creates the intersection and guides the movement, while the follower simply follows the energy. However, as followers become more experienced, they can also create their own sacadas when opportunities arise.
A helpful solo practice for sacadas involves focusing on the dissociation and energy needed for the movement. Leaders can practice inviting the follower around them, then taking their place with energy and precision. This will help you build the confidence to arrive at each step with power, ensuring the continuation of the movement.
So, put on some music and practice! As you go through your figures, think about where you can insert a sacada—whether it's a front crossing step, a back crossing step, or during a molinete. With time, you'll discover plenty of opportunities to sneak a sacada into your dance.
We can’t wait to see how you incorporate these ideas into your dancing. Feel free to share your creative ways of inserting sacadas, and until next time, *Abrazos!* Volcada https://youtu.be/ijX89-9w5_g Hola, friends! Argen & Tina here with the Game of Argentine Tango, and welcome to our latest edition of *Easy Entrances to Moves They Love.* Today, we're exploring the *volcada*—a move that feels incredible for both partners and looks impressive to onlookers. Let’s dive right in!
The volcada, which translates to “tipping over” in Spanish, is all about creating a beautiful tipping motion where the follower is taken off-axis. It looks dramatic, but it doesn’t have to be complicated. In this video, we’ll show you how to access this fun move from three basic steps: the open, front cross, and back cross.
Let’s start by showing a typical entrance into the volcada. It’s most commonly done from a salida—an open step where the leader winds up and steps back, leading the follower into a cross to complete the move.
But the beauty of the volcada is that it’s not limited to one entry. Anytime you have an open step in your dance, you can transform it into a volcada. The key is to get your partner onto a heavy leg and then swing the light leg around for the cross. This can be done with either leg as the heavy leg, and it creates a lot of fun possibilities.
We also have another entrance into the volcada using a change in geometry between the partners. Instead of stepping back to wind up, the leader can step around the follower to create the circular movement necessary for the volcada. It’s a surprising and delightful variation that keeps your partner engaged and on their toes!
Followers, when you feel the leader taking you off your axis, engage your core muscles to maintain balance. Remember, volcada means tipping, so you’re being tipped slightly forward. Keep your energy lifted and centered, engaging your core to stay connected with your partner while avoiding any sinking into the hips.
Now, let’s move on to the front cross. This is a great opportunity to combine moves, like adding a volcada at the end of forward ochos or the crusada. You can even double up on volcadas by using the same principle of stepping around your partner to create the necessary movement. It’s a fun and unexpected way to incorporate the volcada into your dance!
Finally, let's look at the back cross. Here, we use the wind-up technique to flow into the volcada. The secret is to wait for the back cross or back ocho to resolve before guiding the follower into the volcada. This creates a smooth and seamless transition into the move.
Speaking of surprises, there's also a back volcada! Despite the name, the follower still tips forward, but the leg resolves by crossing back instead of forward. It feels similar to a regular volcada but adds a fresh dynamic to your dance.
By exploring all these options—open step, front cross, back cross, and even the walking step—you’ll find that the volcada can be incorporated into just about any part of your dance. You can even play with multiple volcadas or switch into a back volcada for added flair.
A word of caution: the volcada is a big movement that requires awareness of your surroundings, especially on a crowded milonga floor. Make sure you have enough space and aren't blocking other dancers before attempting a large movement like this. Sometimes, keeping the volcada small and intimate fits the music beautifully, so don’t be afraid to scale it down when necessary.
We hope this video inspires you to explore the range of possibilities with the volcada. Feel free to leave us a comment with your thoughts, questions, or any other fancy moves you’d love to learn! As always, we look forward to seeing you out on the dance floor.
Until then, *Abrazos!*